PROFESSIONAL PRACTICE III

PRITZKER PRIZE ARCHITECT

ASSIGNMENT
SHERVIN MIRANDA PEJI

PRITZKER PRIZE ARCHITECTS

1979
Name: Philip Johnson
Philip Johnson (1906-2005) was born in Cleveland, Ohio in 1906, and in the years since has become one of architecture's most potent forces. Before designing his first building at the age of 36, Johnson had been client, critic, author, historian, museum director, but not an architect. In 1949, after a number of years as the Museum of Modern Art's first director of the Architecture Department, Johnson designed a residence for himself in New Canaan, Connecticut for his master degree thesis, the now famous Glass House. He literally coined the term "International School of Architecture" for an exhibition at MOMA. Johnson organized Mies van der Rohe's first visit to this country as well as Le Corbusier's. He even commissioned Mies to design his New York apartment. Later, he would collaborate with Mies on what has been described as this continent's finest high-rise building, the Seagram Building in New York. By the fifties, Johnson was revising his earlier views, culminating with a building that proved to be one of the most controversial of his careerthe AT&T headquarters in New York with its so-called "Chippendale" top. Joining forces with partner John Burgee from 1967 through 1987, their twenty year output has been nothing short of phenomenal. The list of projects fills a volume, but suffice it to say, ranges from numerous high-rise projects such as International Place in Boston; Tycon Towers in Vienna, Virginia; Momentum Place in Dallas; 53rd at Third in New York; NCNB Center in Houston; PPG in Pittsburgh; 101 California in San Francisco; United Bank Center Tower in Denver; to the far flung National Center for Performing Arts in Bombay, India; Century Center in South Bend, Indiana; a Water Garden in Fort Worth, Texas; a Civic Center in Peoria, Illinois; the Crystal Cathedral in California; and a Dade County Cultural Center in Miami. There are many, many more. Since 1989, Johnson, semi-retired, has devoted his time mainly to projects of his own, but still is a consultant to John Burgee Architects. His most recent design is for a new School of Fine Arts for Seton Hill College in Greensburg, Pennsylvania.

Firm: Philip Johnson/Alan Ritchie Architects

The firm of Philip Johnson/Alan Ritchie Architects has been recognized as one of the most creative and innovative architectural firms for over half a century. Philip Johnson's leadership in the modern movement, and later playing a seminal role in the introduction of post-modernism and deconstructivism, has helped to form new ideas and exciting directions in design and architecture around the world. Now, under the leadership of Alan Ritchie, who worked with Philip Johnson for over twenty-five years, the firm continues to explore and present new and cutting edge designs. In 2004, when Philip Johnson retired, he expressed his confidence in passing on his legacy on to Alan Ritchie.

Philip Johnson/Alan Ritchie Architects is a New York Professional Corporation, with a staff of five Architects, three draftsmen, two administrative support and an in-house interior design group. Alan Ritchie, the managing partner of the firm, is a respected designer in his own right and has been responsible for the implementation of many of the office's most important designs. Mr. Ritchie and other senior members of the staff provide the knowledge necessary to assure the ultimate success of the project. Philip Johnson/Alan Ritchie Architects' emphasis is on quality design and an understanding that input from the client is critical to its process. The firm's philosophy is founded on the belief that understanding the client's desires, needs and goals is an essential first step in generating designs that are functionally as well as aesthetically successful. Technical excellence, adherence to established schedules and budgets, and long-term performance are among its most important design objectives. A team led by a senior member of the firm is established at the outset of each project and carries it through from design to completion of construction. This participation and continuity results in the creation of completed projects of the highest quality and design excellence. The firm has won numerous awards and is well-known for many distinguished buildings, such as the At&T Corporate (a.k.a. Sony) Headquarters, Lipstick Building, Penzoil Place, Trump International, Chrysler Center, The Amon Carter Museum, The Metropolitan, and The Pennsylvania Academy of Music.

Famous Works:

Glass House, New Canaan, Connecticut, 1949

Crystal Cathedral, Garden Grove Community Church, California, 1980

1980

Name: Luis Barragan

Luis Barragn (1902-1988) was born in Guadalajara, Mexico. His professional training was in engineering, resulting in a degree at the age of twenty-three. His architectural skills were self-taught. In the 1920s, he traveled extensively in France and Spain and, in 1931, lived in Paris for a time, attending Le Corbusier's lectures. His time in Europe, and subsequently in Morroco, stimulated an interest in the native architecture of North Africa and the Mediterranean, which he related to construction in his own country. In the late 1920s, he was associated with a movement known as the Escuela Tapata or Guadalajara School, which espoused a theory of architecture dedicated to the vigorous adherence to regional traditions. His architectural practice was based in Guadalajara from 1927 until 1936 when he moved to Mexico City and remained until his death. His work has been called minimalist, but it is nonetheless sumptuous in color and texture. Pure planes, be they walls of stucco, adobe, timber, or even water, are his compositional elements, all interacting with Nature. Barragn called himself a landscape architect, writing in the book, Contemporary Architects, (Muriel Emanuel (ed.) published by St. Martins Press, 1980), "I believe that architects should design gardens to be used, as much as the houses they build, to develop a sense of beauty and the taste and inclination toward the fine arts and other spiritual values." And further, "Any work of architecture which does not express serenity is a mistake." A religious man, Barragn and his work have been described as "mystical" as well as serene. His chapel for the Capuchinas Sacramentarias is evidence of both qualities. Because of his interest in horses, he designed many stables, fountains and water troughs that manifest many of these same qualities. Barragn has had a profound influence not only on three generations of Mexican architects, but many more throughout the world. In his acceptance of the Pritzker Architecture Prize, he said, "It is impossible to understand Art and the glory of its history without avowing religious spirituality and the mythical roots that lead us to the very reason of being of the artistic phenomenon. Without the one or the other there would be no Egyptian pyramids, nor those of ancient Mexico. Would the Greek temples and Gothic cathedrals have existed?" Further, he called it "alarming" that publications devoted to architecture seemed to have banished the words, "Beauty, Inspiration, Magic, Spellbound, Enchantment, as well as the concepts of Serenity, Silence, Intimacy and Amazement." He apologized for perhaps not having done these concepts complete justice, but said "they have never ceased to be my guiding lights." As he closed his remarks, he spoke of the art of seeing. It is essential to an architect to know how to seeto see in such a way that vision is not overpowered by rational analysis."

Firm: Barragan Foundation

Famous Works:

Capuchinas Sacramentarias del Purismo Corazon de Maria, Mexico, 1960

Cuadra San Cristobal, Mexico City, Mexico, 1968

1981
Name: James Stirling
James Stirling (1926-1992), of Great Britain is considered by many as the premier architect of his generation, an unparalleled innovator in postwar international architecture. Stirling was born in Glasgow in 1926. He was educated at the University of Liverpool School of Architecture and began his own practice in partnership with James Gowan in London in 1956. Over a sevenyear period they designed some of the most significant projects of the time, most notably the garden apartments at Ham Common (1955-58), the seminal Engineering Building at Leicester University (1959-63), and the Cambridge University History Building (1964-67). In 1971, Stirling began to work in association with Michael Wilford. From this point on, the scale and number of his projects broadened to include museums, galleries, libraries and theaters. Since 1980, he has completed a major social sciences center in Berlin; a Performing Arts Center for Cornell University; and such major museum projects as the Clore Gallery expansion for the Tate Gallery in London; the Arthur M. Sackler Museum, an addition to Harvard's Fogg Museum; and the competition winning design for the Neue Staatsgalerie in Stuttgart, Germany. In an article written in 1979 for the book, Contemporary Architects, Stirling said, "I believe that the shapes of a building should indicateperhaps displaythe usage and way of life of its occupants, and it is therefore likely to be rich and varied in appearance, and its expression is unlikely to be simple ... in

a building we did at Oxford some years ago (the Florey Building, Queens College, Oxford, 1971), it was intended that you could recognize the historic elements of courtyard, entrance gate towers, cloisters; also a central object replacing the traditional fountain or statue of the college founder. In this way we hoped that students and public would not be disassociated from their cultural past. The particular way in which functional-symbolic elements are put together may be the art in the architecture. ...If the expression of functional-symbolic forms and familiar elements is foremost, the expression of structure will be secondary, and if structure shows, it is not in my opinion, the engineering which counts, but the way in which the building is put together that is important." James Stirling was awarded the Alvar Aalto Medal in 1977, the RIBA Gold Medal in 1980 and the Pritzker Prize in 1981. In addition to teaching in Europe, he served as the Charles Davenport Professor at Yale University from 1967.

Famous Works:

Engineering Building, University Leicester, United Kingdom, 1963

History Faculty Library, Cambridge University, of Cambridge, United Kingdom, 1967

St Andrews University, Fife, United Kingdom, 1968

1982
Name: Kevin Roche
Kevin Roche, the 1982 recipient of the Pritzker Architecture Prize, is no stranger to awards and praise. With good reason, since the body of work accomplished by him, and with his partner of 20 years, John Dinkeloo, who died in 1981, is truly prolific. Born in Dublin, Ireland in 1922, Roche received his undergraduate degree in architecture from the National University of Dublin in 1945. He continued his studies in the United States in 1948 with Mies van der Rohe at Illinois Institute of Technology in Chicago, but left after only one semester. His search for the humanist side of architecture led him to the office Eliel and Eero Saarinen in Bloomfield Hills, Michigan. His future partner, John Dinkeloo, joined the firm in 1951, shortly after Roche. From 1954 until Eero Saarinen's death in 1961, Roche was his principal associate in design. Upon Saarinens death, Roche and Dinkeloo completed the ten major projects underway, including the St. Louis Arch, the TWA Terminal at JFK International Airport in New York, Dulles International Airport outside Washington, D.C., Deere and Company Headquarters in Moline, Illinois, and the CBS Headquarters in New York. Roche's first design after Saarinen's death was the Oakland Museum. The city was planning a monumental building to house natural history, technology and art. Roche gave them a unique concept, a building that is a series of low-level concrete structures covering a four block area, on three levels, the terrace of each level forming the roof of the one belowa museum (actually three museums) with a park on its roof. This kind of innovative solution became Roche's trademark. In Contemporary Architects, C. Ray Smith wrote that Roche "demonstrates a kind of problem solving for each specific situation that has produced works of distinct individuality and stylistic variety from project to project." And further, he called Roche and Dinkeloo, "The most aesthetically daring and innovative American firm of architects now working in the realm of governmental, educational and corporate clients." Roche firmly believes that architecture should not fall into a rigid mold. There have been a number of attempts to label or categorize his workall of which he rejects. Speaking of his recent corporate headquarters for General Foods, in Rye, New York, Roche says, "It is not post-modern or pre-modern. It is simply the most obvious thing I could have done. It is an important center of economic activity. The design began with a need, and it addresses the problem of accommodating office workers in a suitable environment. I think the public will identify with it." Among Roche's acclaimed designs is the Ford Foundation in New York City. The structure is of glass, rust-colored steel and warm brown granite, providing offices around a spacious 12-story atrium. In all, Roche has been responsible for some 51 major projects over the past twenty years. Critic Paul

Goldberger described Roche as "a brilliantly innovative designer; his work manages to be inventive without ever falling into the trap of excessive theatricality." One of his early honors was the California Governor's Award for Excellence in Design; a similar award came from New York State. There have been honorary degreesone in 1977 from the National University of Ireland where he had completed his undergraduate studies and another from Wesleyan University. The American Institute of ArchitectsNew York Chapter recognized him with the 1968 Medal of Honor, and in 1974 Roche and Dinkeloo received the national AIA Architectural Firm of the Year Award. The French Acadmie d'Architecture presented him with their Grand Gold Medal in 1977, and elected him a member in 1979.

Firm: Kevin Roche John Dinkeloo and Associates

Kevin Roche John Dinkeloo and Associates is engaged in major projects throughout the United States, Europe and Asia and provides complete master planning, programming, architectural design, interior design, working drawings, specification and construction administration services. Kevin Roche has designed a variety of institutional and corporate projects including 38 corporate headquarters, three hotel/apartment buildings, eight museums, numerous research facilities, theaters, schools, factories, performing arts centers, houses and the Central Park Zoo in New York. For the past 42 years, he has been the architect for the master plan and expansion of the Metropolitan Museum of Art in New York, designing all of its new wings and installing many of its collections. Kevin Roche John Dinkeloo and Associates LLC (KRJDA), located just outside New Haven, Connecticut, is a direct outgrowth of Eero Saarinen and Associates, which was originally established in 1950. When Eero Saarinen died in September 1961, the practice was taken over by Kevin Roche and John Dinkeloo with Kevin Roche resolving the remaining design issues of the twelve major projects on which Mr. Saarinen had been working at the time of his death. These included the Dulles International Airport, the St. Louis Gateway Arch, and the CBS Headquarters in New York. In 1966 the firm became Kevin Roche John Dinkeloo and Associates. "Architecture is an achievement that comes from the commitment of the owner and the understanding of the architect that the work to be realized will be a response not only to the immediate requirements but also to the broader concerns of the community, the accommodation of the natural and cultural environment, and the belief that the final responsibility is not only to the user and the community, but ultimately to posterity. " -Kevin Roche

Famous Works:

Knights of Columbus Headquarters, New Haven, Connecticut, 1970

Fine Arts Center, University of Massachusetts, Amherst, Massachusetts, 1974

1983
Name: I.M. Pei
Ieoh Ming Peis architecture can be characterized by its faith in modernism, humanized by its subtlety, lyricism, and beauty. Pei was born in Canton China in 1917 and came to the United States in 1935 to study first at the University of Pennsylvania and then at the Massachusetts Institute of Technology (B. Arch. 1940) and the Harvard Graduate School of Design (M. Arch. 1946). In 1948, he accepted the newly created post of Director of Architecture at Webb & Knapp, Inc., the real estate development firm, and this association resulted in major architectural and planning projects in Chicago, Philadelphia, Washington, Pittsburgh and other cities. In 1955, he formed the partnership of I.M. Pei & Associates, which became I.M. Pei & Partners in 1966. The partnership received the 1968 Architectural Firm Award of The American Institute of Architects. In 1989, the firm was renamed Pei Cobb Freed and Partners. Pei has designed over fifty projects in this country and abroad, many of which have been award winners. Two of his most prominent commissions have included the East Building of the National

Gallery of Art (1978), in Washington, D.C., and the extension of the Louvre in Paris, France. The need to modernize and expand the Louvre, while respecting its history and architecture, led to the centrally located glass pyramid which forms the new main entrance and provides direct access to galleries in each of the museum's three wings. The pyramid also serves as a skylight for a very large expansion building constructed under the courtyard which provides all public amenities and technical support for the museum. Other outstanding examples of his work include: the Bank of China in Hong Kong (1989), the John Fitzgerald Kennedy Library (1979) near Boston, The Morton H. Meyerson Symphony Center (1989) in Dallas, Texas; the Society Hill development in Philadelphia, Pennsylvania, completed in 1964; the Overseas Chinese Banking Corporation Centre (1976), the West Wing and renovation of the Museum of Fine Arts in Boston (1981 and 1986); the Fragrant Hill Hotel (1982) near Beijing, China; Creative Artists Agency Headquarters (1989) in Beverly Hills, California; an IBM Office Complex (1989) in Somers, NY and another in Purchase, NY; the Everson Museum of Art (1968), Syracuse, New York; and the Texas Commerce Tower (1982) in Houston. He has designed arts facilities and university buildings on the campuses of the Massachusetts Institute of Technology, the University of Rochester, Cornell University, Syracuse University, New York University and the University of Hawaii. As a student, he was awarded the MIT Traveling Fellowship, and the Wheelwright Traveling Fellowship at Harvard. His subsequent honors include the following: the Brunner Prize in Architecture from the National institute of Art and Letters (1961); the Medal of Honor of the New York Chapter of the American Institute of Architects (1963), the Thomas Jefferson Memorial Medal for Architecture (1976), the Gold Medal for Architecture of the American Academy of Arts and Letters (1979), the Gold Medal of The American Institute of Architects (1979), and the Gold Medal of the French Acadmie d'Architecture (1981).

Firm: Pei Cobb Freed & Partners (formerly I. M. Pei & Partners)
Since its formation in 1955, Pei Cobb Freed & Partners (formerly I. M. Pei & Partners) has completed nearly 250 projects in over a hundred cities across North America and around the world. The firm's clients have included major corporations, private developers and public authorities, as well as educational, cultural and religious institutions. Among its best known works are the John F. Kennedy Library, John Hancock Tower and John Joseph Moakley United States Courthouse and Harborpark in Boston; the Morton H. Meyerson Symphony Center and Fountain Place in Dallas; Bank of China Tower in Hong Kong; First Interstate Tower in Los Angeles; First Bank Place in Minneapolis; Jacob K. Javits Convention Center in New York; National Constitution Center on Independence Mall in Philadelphia; Rock and Roll Hall of Fame and Museum in Cleveland, the expansion and modernization of the Louvre museum in Paris; San Francisco Main Public Library; and the East Building of the National Gallery of Art, the Ronald Reagan Building and International Trade Center and the United States Holocaust Memorial Museum in Washington, D.C. Included in the great diversity of building types that the firm has explored is an extensive collection of tall buildings.

Famous Works:

National Center for Atmospheric Research, Boulder, Colorado, 1967 OCBC Centre, Singapore, 1976

1984
Name: Richard Meier
At 49, Richard Meier was the youngest architect to receive his profession's highest accolade, the Pritzker Architecture Prize. Shortly after receiving that honor, he was awarded what is probably one of the twentieth century's most important commissions, the design of The Getty Center, the Los Angeles art complex funded by the J. Paul Getty Trust. Explaining his own roots, Meier says, "Le Corbusier was a great influence, but there are many influences and they are constantly changing. Frank Lloyd Wright was a great architect, and I could not have done my parent's house the way that I did, without being overwhelmed by Falling Water." Meier continued, "We are all affected by LeCorbusier, Frank Lloyd Wright, Alvar Aalto, and Mies van der Rohe. But no less than Bramante, Borromini and Bernini. Architecture is a tradition, a long continuum. Whether we break with tradition or enhance it, we are still connected to that past."

In 1963, he established his private practice, and working from his apartment, launched the business with a commission for his mother and father, a residence in Essex Fells, New Jersey. In 1965, one of his early residential commissions, Smith House in Darien, Connecticut propelled him into national prominence. Looking back on it now, Meier spoke of "the clarity of the building, the openness, the direct articulation of private and public spaces, how it relates to the land and water." He added, "It's been over 17 years, and what was innovative and captured a great many people's imagination and admiration then, is already a part of our language, and somewhat taken for granted today." Other commissions for private homes followed, along with some more public projects. In 1967, he began work on the conversion of the old Bell Telephone Laboratories in Manhattan's Greenwich Village to accommodate some 1200 people in 383 apartment units. The result was hailed in the architectural community as the first evidence that ultimately, Meier's greatest achievements might lie in larger-scaled more public works. "This too is an example of how quickly we assimilate," said Meier. "'The phrase, 'adaptive re-use,' wasn't even in the language then. We were really pioneering a new area." In 1979, after devoting nearly five years of work to it, Meier completed another work, which prompted Ada Louise Huxtable to write in the New York Times, that the building advances "conventional modernist practice provocatively beyond established limits." The building referred to is known as The Atheneum, situated on the banks of the Wabash River in the restoration community of New Harmony, Indiana. On an even grander scale, the High Museum of Art in Atlanta, Georgia was completed in 1983. It opened to enormous media attention and Paul Goldberger, architecture critic of the New York Times, wrote in the June, 1983 issue of Vogue: "It is no accident, then, that Richard Meier is becoming one of the preeminent architects of museums." In addition to the High Museum, he has designed a major museum for Frankfurt, Germany, an addition to the Des Moines Art Center in Iowa, as well as many other types of commissions around the world.

Firm: Richard Meier and Partners Architects

For over five decades, Richard Meier & Partners has been appointed to create important public and private buildings. Led by the Pritzker-Prize winning architect, our projects have received 30 National Honor Awards from the American Institute of Architects and over 50 from the New York AIA and other regional chapters. The firm is well known for the The Getty Center in Los Angeles, Federal Courthouses on Long Island and in Phoenix, the Jubilee Church in Rome, and the iconic Charles and Perry Street Towers in New York City. We have produced important office buildings and headquarters in the United States and across Europe for companies like Canal+, Siemens, KNP, Daimler Benz, Olivetti, Renault, and SwissAir. We have built almost 20 museums, including the Barcelona Museum of Contemporary Art and The Burda and Arp Museums in Germany. We currently have projects underway in the US, Central America, Europe, and Asia, as well as a large residential tower in the heart of Tel Aviv, Israel. Most recently we have been awarded the Edie & Lew Wasserman Eye Research Center at UCLA and the master plan Capitol Project in Singapore.

Famous Works:

Smith House, Darien, Connecticut, 1967

The Atheneum, New Harmony, Indiana, 1979

1985

Name: Hans Hollein

Hans Hollein was born in Vienna, Austria in 1934. From his earliest school days, he manifested a talent for drawing. Although he chose architecture as his profession, his works of art are in many public and private collections around the world. He has been described as far more than an architectartist, teacher, author, and a designer of furniture and silverware. He graduated from the Academy of Fine Arts, School of Architecture, in Vienna in 1956. He was awarded a Harkness Fellowship which afforded him the opportunity travel in the United States. He undertook graduate work at the Illinois Institute of Technology in Chicago, and completed his Master of Architecture degree at the University of California, Berkeley in 1960. During those same years, he was able to meet and study with some of the architects he most admired, including Mies van der Rohe, Frank Lloyd Wright and Richard Neutra. It is characteristic of his curiosity and humor that when he learned there are seven towns or cities in the United States, all bearing the name, "Vienna," he took the time to visit all of them. This was while touring the country in a second-hand Chevrolet.

After working in architectural firms in Sweden and the United States, he settled in Vienna where his first commission in 1965 was what Architectural Forum magazine described as "even smaller than most first commissions: a shop and showroom 12 feet wide for a candle maker." They added however that "it brought him an enthusiastic client and a prominent location on a fashionable Vienna street." Known as the Retti Candleshop, Hollein's accomplishment of this minor commission brought him international attention, including the $25,000 Reynolds Memorial Award. It was the first time in a decade that the award had gone to a work that cost less than the prize. In 1970, he won praise for his first commission in New York, the Richard Feigen Gallery. The February, 1970 issue of Progressive Architecture headlined an article about the building, "Architectural Faberge," and further that Hollein's design combined "an architect's sense of space with a goldsmith's sense of craft to produce an exquisite ambiance for art." The same article called Hollein "one of the few contemporary architects with the skill, the wit, and the financial backing to recreate the intimate luxury of Versailles' private chambers," and harked back to the Retti Candleshop as "Hollein's earlier masterpiece." Not surprisingly, other commissions in this very specialized genre of shops followed, including two jewelry stores for Schullin in Vienna, which again gained international acclaim. More recently, he completed a retail shop for the Beck Company in the Trump Tower in New York. Gradually, his numerous proposals and studies yielded other types of structures as well, from single family residences, to apartment houses, offices and museums. In 1978, he completed a Tourist Office in Vienna. By 1982, he had completed the Municipal Museum Abteiberg, in Monchengladbach near Dusseldorf. This major work brought further acclaim and additional opportunities for projects of a similar nature. The same year that he was named Pritzker Laureate, he won two international competitions, one for a Museum of Modern Art in Frankfurt and another for a Cultural Forum in Berlin. Also in that same year, he designed a major exhibition on Viennese culture, entitled "Dream and Reality," which opened in Vienna and then made several other stops around the world. One of his bestknown exhibits was for the opening of the Cooper-Hewitt Museum in New York, "MANtransFORMS," on the aspects of design. Hollein has recently proposed, according to Bill Lacy, secretary to the Pritzker Prize Jury "an audacious subterranean design for a branch of the Solomon R. Guggenheim Museum in New York for Salzburg. With its hybrid manmade and natural forms of sheer cliff like rooms and with spectacular light shafts, Hollein has once again demonstrated his penchant for the elegant and the dramatic."

Firm: Hans Hollein & Partner

Famous Works:

Retti Candleshop (interior), Vienna, Austria, 1965

Jewellery Store Schullin II, Vienna, Austria, 1983

1986
Name: Gottfried Bohm
The work of Gottfried Bhm ranges from the simple to the complex, using many different kinds of materials, with results that sometimes appear humble, sometimes monumental. He has been described in the sixties as an expressionist, and more recently as post-Bauhaus, but almost always he stands alone in departing from the conventions of established architecture, seeking to go one step beyond. Bhm himself prefers to be thought of in terms of creating "connections"for example, the integration of the old with the new, the world of ideas with the physical world, the interaction between the architecture of a single building with the urban environment, taking into account the form, material, and color of a building in its setting. Gottfried Bhm was born in Offenbach-am-Main on January 23, 1920, the son of Dominikus Bhm, one of Europe's most respected architects of Roman Catholic churches and ecclesiastical buildings. Since his paternal grandfather had been an architect as well, it is not surprising that Gottfried started on that path. His academic career began in 1942, when he attended the Technische Hochschule in Munich. He received degree in 1946. For another year, he continued his education, studying sculpture at the Academy of Fine Arts in Munich. That training has been important for the clay models he develops during the design process of his buildings.

He worked in his father's office as an assistant architect from 1947to1950. During that time he collaborated with the Society for the Reconstruction of Cologne under the direction of Rudolph Schwarz. In 1948, he met and married Elisabeth Haggenmueller, who is also a licensed engineer and architect. They have four sons, three of whom have become architects. Feeling the need for other points of view, in 1951, Bhm journeyed to New York where he worked in the architectural firm of Cajetan Baumann for six months. Several more months were spent on a study tour of the United States, during which time he had the opportunity to meet Mies van der Rohe and Walter Gropius, two of the architects for whom he holds great admiration. His study tour over, Bhm returned to work with his father in 1952. His father's influence plus the ideas and theories of Bauhaus, were apparent in his first independent projects. Nevertheless, his multiple skills enabled him to overcome this phase quickly. He did not discover a different style; what he discovered was a clear conviction of the importance of every single architectural assignment, no matter how small, and he learned that, along with the factors of time and place, man is the most important value to be taken into consideration." When his father died in 1955, Bhm took over the family firm. In the following three decades he has accomplished many buildings, including churches, museums, theatres, cultural and civic centers, city halls, office buildings, public housing, and apartment buildings, many of the latter with mixed use. The Bensberg City Hall, as well as the restaurant he designed at Bad Kreuznach, both built on historic ruins, illustrate his creativity in joining the old with the new. Some of the connections Bhm refers to are also between private and public or semi-public spaces, new uses for deserted urban areas, and the analyzing of a design problem as both a boundary and a link. One of his projects, the Zueblin Corporate Headquarters in Stuttgart, straddling two newly incorporated townships, embodies these connections. Many of Bhm's projects and proposals illustrate his concern for urban spaces. He undertook planning projects for the area around the Cathedral and the Heumarkt area in Cologne, the Prague Square in Berlin and the area around the castle at Saarbruecken, the Lingotto Quarter in Torino. Bhm has said, "I think the future of architecture does not lie so much in continuing to fill up the landscape, as in bringing back life and order to our cities and towns." In 1981, Peter Davey in Architectural Review, described some of Bhm's buildings as "unique subjective works of art that showed Germanyand Europethat the Expressionist tradition is still alive. His brut modern concrete meets ragged medieval stone with contrast yet sympathy: the new forms are as complex as the old..." Davey was referring in this instance to the town hall at Bensberg and the Pilgrimage Church at Neviges. This article went on to review a more recent building, the civic center at Bergisch Gladbach. Davey acknowledged that "as usual with Bhm, everything new is new: there is no attempt to copy." Bergisch-Gladbach marked a major change in the materials used by Bhm, from molded concrete to glass and steel. Of this change, Bhm has said simply, "I use different kinds of materials on different kinds of projects. Today we can do things with steel and glass that we could not do before." In his teaching, Bhm warns against "the exaggerations of the historicizing movement, and mindless imitation of earlier eras." He has insisted on "spiritually enriching human values in architecture," speaking out against "overcrowding the environment with unnecessary design features." He has opposed both the reductive sterility, and the brutalism that reigned for a time. Although the language of his forms is not in the of modernist" style, he adheres to many of the ethical principles of the Bauhaus such as "austerity, honesty, and expressing one's own time in one's work."

Firm: Famous Works:

City Hall, Bensberger, Germany, 1969

Museum of the Diocese, Germany, 1975

1987
Name: Kenzo Tange
Kenzo Tange (1913-2005), winner of the 1987 Pritzker Architecture Prize, is one of Japans most honored architects. Teacher, writer, architect, and urban planner, he is revered not only for his own work but also for his influence on younger architects. He was born in the small city of Imabari, Shikoku Island, Japan in 1913. Although becoming an architect was beyond his wildest dreams as a boy, it was Le Corbusiers work that stirred his imagination so that in 1935, he became a student in the Architecture Department of Tokyo University. In 1946, he became an assistant professor at Tokyo University, and organized the Tange Laboratory. His students included Fumihiko Maki, Koji Kamiya, Arata Isozaki, Kisho Kurokawa, and Taneo Oki. Tange was in charge of the reconstruction of Hiroshima after World War II. The Hiroshima Peace Center and Park begun in 1946 made the city symbolic of the human longing for peace. Architecturally, the Peace Center shows a deep understanding of traditional culture while at the same time is a signpost in the search for a modern style in Japan. Tange research and interest in urban planning extended throughout his career. His doctorate, completed in 1959, was titled, "Spatial Structure in a Large City," an interpretation of urban structure on the basis of people's movements commuting to and from work. His "Plan for Tokyo 1960" was the Tange Team's logical response to these problems, giving thought to the nature of the urban structure that would permit growth and change. His Tokyo Plan received enormous attention world-wide, for its

new concepts of extending the growth of the city out over the bay, using bridges, man made islands, floating parking and mega structures. Other urban design and planning projects were begun in 1967 for the Fiera District of Bologna, Italy, and for a new town with residences for 60,000 in Catania, Italy. For his Tokyo Cathedral of Saint Mary, he visited several medieval Gothic examples. "After experiencing their heaven-aspiring grandeur and ineffably mystical spaces," he says, "I began to imagine new spaces, and wanted to create them by means of modern technology." Yamanishi Broadcasting and Press Center (1966) in Kofu, Japan uses many of Tange's new theories cylinders house staircases, elevators, air conditioning and electrical equipment systems. The horizontal spaces connecting them are likened to the buildings along a street. Some plots are vacant and others are occupied. An important aspect was the expansion potential of the complex. Open spaces between floors, which now serve as terraces and roof gardens, could be enclosed when needed. In the year in which he won the Pritzker Prize, Tange revealed his plans for the new Tokyo City Hall Complex. Since built, the complex comprises an assembly hall, a civic plaza, a park, and two tower buildings. The Akasaka Prince Hotel (1982) in Tokyo has become an important landmark. Others include the Sogetsu Center (1957), the Hanae Mori Building (1979), the Hyogo Prefecture Museum of History (1982), the Ehime Prefecture Culture Center (1985), the Toin School (1986) in Yokohama, and new projects that are still in the design stage, such as the Yokohama Museum of Art, and the Tokyo Headquarters of the United Nations University. Tange's only completed project in the United States, to date, is his expansion of the Minneapolis Art Museum, originally designed in 1911 by McKim Mead & White in the neoclassic style. Completed in 1975, the expansion, almost doubling the size of the original 120,000 square foot structure, was accomplished with large symmetrical wings. Other works outside of Japan include major buildings in Singapore: the Overseas Union Bank, the GB Building, the Telecommunications Centre, and the Nanyang Technological Institute. In all of his projects, there is a recurrent theme that Tange has verbalized, "Architecture must have something that appeals to the human heart, but even then, basic forms, spaces and appearances must be logical. Creative work is expressed in our time as a union of technology and humanity. The role of tradition is that of a catalyst, which furthers a chemical reaction, but is no longer detectable in the end result. Tradition can, to be sure, participate in a creation, but it can no longer be creative itself." In addition to his architectural practice, Kenzo Tange has been a guest professor at Massachusetts Institute of Technology, as well as a lecturer at Harvard, Yale, Princeton, Washington University, Illinois Institute of Technology, the University of California at Berkeley, and the Universities of Alabama and Toronto.

Firm: Tange Associates

Truly was born from dialogue with the client "comfortable" making of space is the DNA of TANGE not to change from the inception of 1946. TANGE who has been innovative and creative architectural epoch-making in line with the times over a half a century. I will continue to promote the "comfortable" space to create the world stage in the future.

Famous Works:

Hiroshima Peace Memorial Museum, 1955 Hiroshima, Japan, 1964

Yoyogi National Gymnasium for the Summer Olympics, Tokyo, Japan, 1964

1988

Name: Oscar Niemeyer

Oscar Niemeyer (1907-2012) was born in the hillside district of Rio de Janeiro, Brazil and studied at the Academy of Fine Arts there. Niemeyers architecture, conceived as lyrical sculpture, expands on the principles and innovations of Le Corbusier to become a kind of free-form sculpture. In 1938-39 he designed the Brazilian Pavilion for the New York Worlds Fair in collaboration with Lucio Costa. His celebrated career began to blossom with his involvement with the Ministry of Education and Health (1945) in Rio de Janeiro. Niemeyers mentor, Lucio Costa, architect, urban planner, and renowned pioneer of Modern architecture in Brazil, led a group of young architects who collaborated with Le Corbusier to design the building which became a landmark of modern Brazilian architecture. It was while Niemeyer was working on this project that he met the mayor of Brazil's wealthiest state, Juscelino Kubitschek, who would later become President of Brazil. As President, he appointed Niemeyer in 1956 to be the chief architect of Brasilia, the new capital of Brazil, his designs complementing Lucio Costas overall plans. The designs for many buildings in Brasilia would occupy much of his time for many years. "As an architect," he states, "my concern in Brasilia was to find a structural solution that would characterize the city's architecture. So I did my very best in the structures, trying to make them different with their columns narrow, so narrow that the palaces would seem to barely touch the ground. And I set them apart from the facades, creating an empty space through which, as I bent over my work table, I could see myself walking, imagining their forms and the different resulting points of view they would provoke.

Internationally, he collaborated with Le Corbusier again on the design for the United Nations Headquarters (1947-53) in New York, contributing significantly to the siting and final design of the buildings. His own residence (1953) in Rio de Janeiro has become a landmark. In the 1950s, he designed an Aeronautical Research Center near Sao Paulo. In Europe, he undertook an office building for Renault and the Communist Party Headquarters (1965) both in Paris, a cultural centre for Le Havre (1972), and in Italy, the Mondadori Editorial Office (1968) in Milan and the FATA Office Building (1979) in Turin. In Algiers, he designed the Zoological Gardens, the University of Constantine, and the Foreign Office. "I have always," says Niemeyer, "accepted and respected all other schools of architecture, from the chill and elemental structures of Mies van der Rohe to the imagination and delirium of Gaudi. I must design what pleases me in a way that is naturally linked to my roots and the country of my origin. Niemeyer continues: When I started to design the Museum of Modern Art for Niteroi, I already had an idea in mind. An abstract circular form above the landscape, and the site free of other constructions to better emphasize the building. I did not want to repeat the usual solutions of a cylinder above another, but to move in the direction of the design for the Caracas Museum (a design by Niemeyer from 1954), creating a line that would rise with curves and straight lines from the ground up to the roof. The exhibition hall would be surrounded by straight wallsI did not want it glazedbut with exits for the external gallery that would encircle it, integrating it in the magnificent panorama. As often happens, this solution calling for a central support sustaining only the exhibition room was modified. With the addition of one meter in height on the radial beams, measuring one meter and a half, we would add a new floor, including the 'foyer,' the reception room, the auditorium, work rooms, library and bathrooms. This would result in a more complete and economical project. My architecture followed the old examples -beauty prevailing over the limitations of the constructive logic. My work proceeded, indifferent to the unavoidable criticism set forth by those who take the trouble to examine the minimum details, so very true of what mediocrity is capable of. It was enough to think of Le Corbusier saying to me once while standing on the ramp of the Congress: `There is invention here'. Although semi-retired, he still works at the drawing board and welcomes young architects from all over the world. He hopes to instill in them the sensitivity to aesthetics that allowed him to strive for beauty in the manipulation of architectural forms.

Firm:

Famous Works:

Metropolitan Cathedral of Brasilia, Brasilia, Brazil, 1970

Niteri Contemporary Art Museum, Brazil, 1996

1988
Name: Gordon Bunshaft
Gordon Bunshaft (1909-1990) has been credited with opening a whole new era of skyscraper design with his first major design project in 1952, the 24-story Lever House in New York. Many consider it the keystone of establishing the International Style as corporate America's standard in architecture, at least through the 1970s. In recent years, it has been declared a historic landmark, New York's most contemporary structure to hold that distinction. The late Lewis Mumford described Lever House in The New Yorker in glowing terms, "It says all that can be said, delicately, accurately, elegantly, with surfaces of glass, with ribs of steel...an impeccable achievement." In reviewing the Johnson Library for The New York Times, Ada Louise Huxtable described it as a new form of memorial, saying, "Architecture as art and symbol is one of civilization's oldest games, and Mr. Bunshaft is one of its most dedicated players." Gordon Bunshaft was born in 1909 in Buffalo, New York. He studied architecture at the Massachusetts Institute of Technology, earning his bachelor's degree in 1933 and his master's degree in 1935. Bunshaft was awarded both the MIT Honorary Traveling Fellowship and the Rotch Traveling Fellowship, which allowed him to travel in Europe from 1935 until 1937. Upon his return to the United States he took a job in the New York with Edward Durell Stone. After a brief stint with Stone, he joined Louis Skidmore of Skidmore, Owings & Merrill, where he worked until 1942. One of his earliest assignments was to work on designs for some of the buildings for the New York World Fair of 1939. World War II intervened with Mr. Bunshaft serving in the Army Corps of Engineers and upon his return in 1946 he rejoined SOM, where he remained until 1979.

He was a trustee of the Museum of Modern Art and served on the President's Commission of Fine Arts (1963-72). Bunshaft was elected to the College of Fellows of the American Institute of Architects in 1958. He received the Brunner Memorial Prize, the Gold Medal from the American Academy and Institute of Arts and Letters (1984), the Medal of Honor from the New York chapter of the American Institute of Architects, and the Pritzker Architecture Prize (1988). His last project before retiring from SOM was the National Commercial Bank in Jeddah, Saudi Arabia, completed in 1983. At three different levels, on each side of the building are loggias that Mr. Bunshaft called "gardens in the air." He acknowledged, "I think this is one of my best and most unique projects."

Firm:

Famous Works:

National Commercial Bank, Jeddah, Saudi Arabia, 1983

Lever House, New York, New York, 1952

1989

Name: Frank Gehry

Frank Gehry considers the recently commissioned Walt Disney Concert Hall in Los Angeles to be his first major project in his hometown. No stranger to music, he has a long association with the Los Angeles Philharmonic Orchestra, having worked to improve the acoustics of the Hollywood Bowl. He also designed the Concord Amphitheatre in northern California, and yet another much earlier in his career in Columbia, Maryland, the Merriweather Post Pavilion of Music. The Museum of Contemporary Art selected him to convert an old warehouse into its Temporary Contemporary (1983) exhibition space while the permanent museum was being built. It has received high praise, and remains in use today. On a much smaller scale, but equally as effective, Gehry remodeled what was once an ice warehouse in Santa Monica, adding some other buildings to the site, into a combination art museum/retail and office complex. The belief that "architecture is art" has been a part of Frank Gehry's being for as long as he can remember. In fact, when asked if he had any mentors or idols in the history of architecture, his reply was to pick up a Brancusi photograph on his desk, saying, "Actually, I tend to think more in terms of artists like this. He has had more influence on my work than most architects. In fact, someone suggested that my skyscraper that won a New York competition looked like a Brancusi sculpture. I could name Alvar Aalto from the architecture world as someone for whom I have great respect, and of course, Philip Johnson." Born in Canada in 1929, Gehry is today a naturalized U.S. citizen. In 1954, he graduated from the University of Southern California and began working full time with Victor Gruen Associates, where he had been apprenticing part-time while still in school. After a year in the army, he was admitted to Harvard Graduate School of Design to study urban planning. When he returned to Los Angeles, he briefly worked for Pereira and Luckman, and then rejoined Gruen where he stayed until 1960. In 1961, Gehry and family, which by now included two daughters, moved to Paris where he worked in the office of Andre Remondet. His French education in Canada was an enormous help. During that year of living in Europe, he studied works by LeCorbusier, Balthasar Neumann, and was attracted to the French Roman churches. In 1962, he returned to Los Angeles and set up his own firm. He has said on more than one occasion, "Personally, I hate chain link. I got involved with it because it was inevitably being used around my buildings. If you can't beat 'em, join 'em." A project in 1979 illustrates his use of chain-link fencing in the construction of the Cabrillo Marine Museum, a 20,000 square foot compound of buildings that he "laced together" with chain-link fencing. These "shadow structures" as Gehry calls them, bind together the parts of the museum. Santa Monica Place, begun in 1973, has one outside wall that is nearly 300 feet long, six stories tall and hung with a curtain of chain link; a second layer over it in a different color spells out the name of the mall.

For a time, Gehry's work used "unfinished" qualities as a part of the design. As Paul Goldberger, New York Times Architecture Critic described it, "Mr. Gehry's architecture is known for its reliance on harsh, unfinished materials and its juxtaposition of simple, almost primal, geometric forms...(His) work is vastly more intelligent and controlled than it sounds to the uninitiated; he is an architect of immense gifts who dances on the line separating architecture from art but who manages never to let himself fall." One building in progress since 1985 is the Chiat/Day Office for Venice, California. The proposed three-story, 75,000 square foot building will sit above three underground levels of parking for 300 cars. The entry to the building is through a pair of 45-foot tall binoculars designed by Oldenburg and his wife Coosje van Bruggen. The shafts of the binoculars will contain an office and a library. A guesthouse he designed in 1983 for a home in Wayzata, Minnesota that had been designed by Philip Johnson in 1952 proved a challenge that critics agree Gehry met and conquered. The guesthouse is actually a grouping of one-room buildings that appear as a collection of sculptural pieces. In 1988, he did a monument to mark the centennial of the Sheet Metal Workers' International Association. It was built by 600 volunteers from the union in the cavernous central hall of the National Building Museum (formerly known as the Pension Building) in Washington, D.C. The 65-foot high construction was galvanized stainless steel, anodized aluminum, brass and copper. There is an interesting note regarding a statement Gehry prepared for the 1980 edition of Contemporary Architects , Gehry states, "I approach each building as a sculptural object, a spatial container, a space with light and air, a response to context and appropriateness of feeling and spirit. To this container, this sculpture, the user brings his baggage, his program, and interacts with it to accommodate his needs. If he can't do that, I've failed."

Firm: Gehry Partners, LLP

Gehry Partners, LLP is a full service firm with broad international experience in academic, commercial, museum, performance, and residential projects. Frank Gehry established his practice in Los Angeles, California in 1962. The Gehry partnership, Gehry Partners, LLP, was formed in 2001. Gehry Partners employs a large number of senior architects who have extensive experience in the technical development of building systems and construction documents, and who are highly qualified in the management of complex projects. Every project undertaken by Gehry Partners is designed personally and directly by Frank Gehry. All of the resources of the firm and the extensive experience of the firms partners are available to assist in the design effort and to carry this effort forward through technical development and construction administration. The firm relies on the use of Digital Project, a sophisticated 3D computer modeling program originally created for use by the aerospace industry, to thoroughly document designs and to rationalize the bidding, fabrication, and construction processes. The partners in Gehry Partners, LLP are: Frank Gehry, Brian Aamoth, John Bowers, Anand Devarajan, Jennifer Ehrman, Berta Gehry, Meaghan Lloyd, David Nam, Tensho Takemori, Laurence Tighe & Craig Webb.

Famous Works:

California Aerospace Museum, Los Angeles, California, 1984

Guggenheim Museum, Bilbao, Spain, 1997

1990
Name: Aldo Rossi
Aldo Rossi (1931-1997) has achieved distinction as a theorist, author, artist, teacher and architect, in his native Italy as well as internationally. Noted critic and historian, Vincent Scully, has compared him to Le Corbusier as a painter-architect. Ada Louise Huxtable, architectural critic and Pritzker juror has described Rossi as "a poet who happens to be an architect." Rossi was born in Milan, Italy where his father was engaged in the manufacture of bicycles, bearing the family name, a business he says was founded by his grandfather. While growing up during the years of World War II, Rossis early education took place at Lake Como, and later in Lecco. Shortly after the war ended, he entered the Milan Polytechnic University, receiving his architecture degree in 1959. Rossi served as editor of the Architectural magazine Casabella from 1955 to 1964. Although early film aspirations were gradually transposed to architecture, he still retains strong interest in drama. In fact, he says, "In all of my architecture, I have always been fascinated by the theatre." For the Venice Biennale in 1979, he designed the Teatro del Mondo, a floating theatre, built under a joint commission from the theatre and architecture commissions of the Biennale. It seated 250 around a central stage. It was towed by sea to the Punta della Dogana where it remained through the Biennale. Rossi described the project in its site, as "a place where architecture ended and the world of the imagination began." More recently, he completed a major building for Genoa, the Carlo Felice Theatre which is the National Opera House. In Canada, the first Rossi project in the Western Hemisphere was completed in 1987 when the Toronto Lighthouse Theatre was built on the banks of Lake Ontario.

In his book, A Scientific Autobiography, he describes an auto accident that occurred in 1971 as being a turning point in his life, ending his youth, and inspiring a project for the cemetery at Modena. It was while he was recuperating in a hospital that he began thinking of cities as great encampments of the living, and cemeteries as cities of the dead. Rossi's design for the cemetery at San Cataldo won first prize in a competition in 1971, and is being built in stages. At almost the same time period, Rossi's first housing complex was being built on the outskirts of Milan. Called Gallaratese (1969-1973), the structure is actually two buildings separated by a narrow gap. Of this project, Rossi has said, "I believe it to be significant, above all, because of the simplicity of its construction, which allows it to be repeated." He has since built a number of solutions to housing, from individual homes to apartment buildings and hotels. The Pocono Pines Houses in Pocono, Pennsylvania represent one of his first completed buildings in the United States. In Galveston, Texas, a monumental arch for the city has been completed. In Coral Gables, Florida, the University of Miami has commissioned Rossi to design the new School of Architecture. Other housing projects include an apartment building in the Berlin-Tiergarten district of West Germany, and another called Sudliche Friedrichstadt (1981-88). There have been numerous residence designs in Italy. His Il Palazzo Hotel and Restaurant Complex in Fukuoka, Japan is still another extension of his solutions for living quarters, completed in 1989. When Rossi was introduced at Harvard to deliver the Walter Gropius Lecture, the chairman of the architecture department, Jose Rafael Moneo said, "When future historians look for an explanation as to why the destructive tendencies that threatened our cities changed, Rossi's name will appear as one of those who helped to establish a wiser and more respectful attitude."

Firm: Famous Works:

Bonnefanten Museum, Maastrict, Netherlands, 1995

Quartier Schtzenstrasse, Berlin, Germany, 1998

1991
Name: Robert Venturi
Robert Venturi has been described as one of the most original talents in contemporary architecture. He has also been credited with saving modern architecture from itself. He has done this by being eloquent verbally with his writings and visually with the appearance of his buildings. Like other Pritzker Architecture Prize Laureates before him, he is a writer, a teacher, an artist and philosopher, as well as an architect. Venturi graduated summa cum laude from Princeton University in 1947 and received his Master of Fine Art degree, also from Princeton, in 1950. He furthered his studies as a Rome Prize Fellow at the American Academy in Rome from 1954 to 1956. Shortly after his return to the United States, he taught an architectural theory course at the University of Pennsylvania, School of Architecture. In the following three decades, he has lectured at numerous institutions including Yale, Princeton, Harvard, University of California at Los Angeles, Rice University and the American Academy in Rome. In his first book, Complexity and Contradiction in Architecture, published in 1966 by the Museum of Modern Art, Venturi posed the question, "Is not Main Street almost all right?" He was arguing for what he called "the messy vitality" of the built environment. As he puts it, "We were calling for an architecture that promotes richness and ambiguity over unity and clarity, contradiction and redundancy over harmony and simplicity." He was challenging Modernism with the multiple solutions available from historya history defined as relating not only to the specific building site, but the history of all architecture. He wanted architecture to deal with the complexities of the city, to become more contextual. In his original preface to the book, Venturi states, "As an architect, I try to be guided not by habit but by a conscious sense of the pastby precedent, thoughtfully considered." He continues later, "As an artist, I frankly write about what I like in architecture: complexity and contradiction. From what we find we like what we are easily attracted towe can learn much of what we really are." Venturi is an architect whose work cannot be categorized; to him, there is never a single solution. Lest anyone try to pigeonhole him as a postmodernist, he declared that he was practicing modern architecture, and paraphrased his own words earlier about Main Street, "the modern movement was almost all right." emphasizing his close affinity to the basic tenets of modernism, while still giving importance to human use, memories, comfort and entertainment. Venturi has made it possible to accept the casual and the improvised in the built environment. Venturi's early professional work was in the office of Eero Saarinen, where among other projects, he worked on the design of the Milwaukee County War Memorial Center. He also worked in the offices of Louis I. Kahn and Oscar Stonorov in Philadelphia. One of his first projects to be built that captured the attention of the architectural community was a house for his mother in the Chestnut Hill section of Philadelphia, Pennsylvania. In 1989, it received the American Institute of Architectures Twenty-five Year Award as a design of "enduring significance that has withstood the test of time." Other well-known works include: Guild House (1964) in Philadelphia, comprised of 91 apartment units for the elderly, the Allen Memorial Art Museum (1976) in Oberlin, Ohio, the extension to Britains National Gallery of Art, begun in 1986 in London, and the recent Seattle Art Museum (1991). Robert Venturi's wife, Denise Scott Brown, is an architect, planner, author, and educator. She has been a partner in the firm since 1969 and his collaborator in the evolution of architectural theory and design for the past 30 years. She is noted for bringing particular attention to the relationship of architecture, planning and social conditions, and is primarily responsible for planning, urban design and architectural programming. Robert Venturi, Denise Scott Brown and Steven Izenour collaborated on another book, published in 1972, Learning from Las Vegas, a further exploration of urban sprawl and the suburbs in relation to their architectural theories. A collection of their writings was also

published in 1984, A View from the Campidoglio: Selected Essays, 1953-1984. In one of the essays in the latter collection, In one of his essays in A View from the Campidoglio, Venturi says, "When I was young, a sure way to distinguish great architects was through the consistency and originality of their work...This should no longer be the case. Where the Modern masters' strength lay in consistency, ours should lie in diversity."

Firm: VSBA Architects and Planners Famous Works:

Gordon Wu Hall, Princeton University, New Jersey, 1983

Vanna Venturi House, Philadelphia, Pennsylvania, 1964

1992
Name: Alvaro siza
"Every design," says Siza, "is a rigorous attempt to capture a concrete moment of a transitory image in all its nuances. The extent to which this transitory quality is captured, is reflected in the designs: the more precise they are, the more vulnerable." While working on a sizable office building design for Porto, Siza discounted any possibility of blending the new building by imitating its surroundings. The area was too important since it was between the historic center of the city and a bridge that has great significance because it was built by Eiffel in 1866. He explained, "We have gone beyond the stage whereby unity of language was believed to be the universal solution for architectural problems. Recognizing that complexity is the nature of the city, transformational movements take on very different forms." Siza, whose full name is Alvaro Joaquim de Meio Siza Vieira, was born on June 25, 1933 in the small coastal town of Matosinhos, just north of Porto, Portugal. Siza studied at the University of Porto School of Architecture from 1949 through 1955, completing his first built works (four houses in Matosinhos) even before ending his studies in 1954. That same year he opened his private practice in Porto. In 1966, Siza began teaching at the University, and in 1976, he

was made a tenured Professor of Architecture. In addition to his teaching there, he has been a visiting professor at the Graduate School of Design, Harvard University; the University of Pennsylvania; Los Andes University of Bogota; and the Ecole Polytechnique of Lausanne. In addition, he has been a guest lecturer at many universities and conferences throughout the world, from the United States, Colombia and Argentina to Spain, Germany, France, Norway, the Netherlands, Switzerland, Austria and England in Europe. In recent years, he has received honors from foundations and institutions in Europe, including, the Alvar Aalto Foundation Gold Medal in 1988, the renowned Mies van der Rohe Foundation Award the Borges & Irmao Bank in Vila do Conde, Portugal (1982-86). In the United States in 1988, the Harvard University Graduate School of Design recognized Siza for his Malagueira Quarter Housing Project in Evora, Portugal that began in 1977, presenting him with the first Veronica Rudge Green Prize, often referred to as the Prince of Wales Prize for Urban Design. In 1977, following the revolution in Portugal, the city government of Evora commissioned Siza to plan a housing project in the rural outskirts of the town. It was to be one of several that he would do for SAAL (servicio de apoio ambulatorio local), the national housing association, consisting of 1200 low-cost, housing units, some one-story and some two-story row houses, all with courtyards. Recent projects and buildings in Portugal include, a new College of Education in Setubal, a new School of Architecture for Porto University, a Modern Art Museum for Porto, the rebuilding of the Chiado, area of Lisbon, damaged by fire in 1988, and a new Library for Aveiro University. In Berlin, his competition winning entry for an apartment building, Schlesisches Tor, Kreuzberg, was recently completed. He has participated in and won numerous other competitions including the renovation of Campo di Marte (1985) in Venice, the renewal of the Casino and Cafe Winkler (1986) in Salzburg, and the cultural center of the Ministry of Defense (1988-89) in Madrid. The Meteorological Centre for the 1992 Olympic Games, in Barcelona, is currently nearing completion. Siza's work ranges from swimming pools to mass housing developments, with residences for individuals, banks, office buildings, restaurants, art galleries, shops, virtually every other kind of structure in between. Quoting from Casabella magazine, July 1986, in explaining Sizas insistence on continuous experimentation, it was said, "Precisely for this reason his architecture can communicate to us an extraordinary sense of freedom and freshness; in it one clearly reads the unfolding of an authentic design adventure. In accepting the risk of such adventure, Alvaro Siza has even been able to bring to the surface, in his architecture, what one feared was in danger of extinction: the heroic spirit of modern architecture."

Firm: Famous Works:

Servei de Meteorologica, Barcelona, Spain, 1992

Facultad de Arquitectura, University of Porto, Portugal, 1993

1993
Name: Fumihiko Maki
"Every design," says Siza, "is a rigorous attempt to capture a concrete moment of a transitory image in all its nuances. The extent to which this transitory quality is captured, is reflected in the designs: the more precise they are, the more vulnerable." While working on a sizable office building design for Porto, Siza discounted any possibility of blending the new building by imitating its surroundings. The area was too important since it was between the historic center of the city and a bridge that has great significance because it was built by Eiffel in 1866. He explained, "We have gone beyond the stage whereby unity of language was believed to be the universal solution for architectural problems. Recognizing that complexity is the nature of the city, transformational movements take on very different forms." Siza, whose full name is Alvaro Joaquim de Meio Siza Vieira, was born on June 25, 1933 in the small coastal town of Matosinhos, just north of Porto, Portugal. Siza studied at the University of Porto School of Architecture from 1949 through 1955, completing his first built works (four houses in Matosinhos) even before ending his studies in 1954. That same year he opened his private practice in Porto. In 1966, Siza began teaching at the University, and in 1976, he was made a tenured Professor of Architecture. In addition to his teaching there, he has been a visiting professor at the Graduate School of Design, Harvard University; the University of Pennsylvania; Los Andes University of Bogota; and the Ecole Polytechnique of Lausanne. In addition, he has been a guest lecturer at many universities and conferences throughout the world, from the United States, Colombia and Argentina to Spain, Germany, France, Norway, the Netherlands, Switzerland, Austria and England in Europe. In recent years, he has received honors from foundations and institutions in Europe, including, the Alvar Aalto Foundation Gold Medal in 1988, the renowned Mies van der Rohe Foundation Award the Borges & Irmao Bank in Vila do Conde, Portugal (1982-86). In the United States in 1988, the Harvard University Graduate School of Design recognized Siza for his Malagueira Quarter Housing Project in Evora, Portugal that began in 1977, presenting him with the first Veronica Rudge Green Prize, often referred to as the Prince of Wales Prize for Urban Design. In 1977, following the revolution in Portugal, the city government of Evora commissioned Siza to plan a housing project in the rural outskirts of the town. It was to be one of several that he would do for SAAL (servicio de apoio ambulatorio local), the national housing association, consisting of 1200 low-cost, housing units, some one-story and some two-story row houses, all with courtyards. Recent projects and buildings in Portugal include, a new College of Education in Setubal, a new School of Architecture for Porto University, a Modern Art Museum for Porto, the rebuilding of the Chiado, area of Lisbon, damaged by fire in 1988, and a new Library for Aveiro University. In Berlin, his competition winning entry for an apartment building, Schlesisches Tor, Kreuzberg, was recently completed. He has participated in and won numerous other competitions including the renovation of Campo di Marte (1985) in Venice, the renewal of the Casino and Cafe Winkler (1986) in Salzburg, and the cultural center of the Ministry of Defense (1988-89) in Madrid. The Meteorological Centre for the 1992 Olympic Games, in Barcelona, is currently nearing completion. Siza's work ranges from swimming pools to mass housing developments, with residences for individuals, banks, office buildings, restaurants, art galleries, shops, virtually every other kind of structure in between. Quoting from Casabella magazine, July 1986, in explaining Sizas insistence on continuous experimentation, it was said, "Precisely for this reason his architecture can communicate to us an extraordinary sense of freedom and freshness; in it one clearly reads the unfolding of an authentic design adventure. In

accepting the risk of such adventure, Alvaro Siza has even been able to bring to the surface, in his architecture, what one feared was in danger of extinction: the heroic spirit of modern architecture."

Firm: Maki and Associates Architecture and Planning Famous Works:

Tokyo Church of Christ, Tokyo, Japan, 1995

National Museum of Modern Art Kyoto, Kyoto, Japan, 1986

1994
Name: Christian de Portzamparc
"Every design," says Siza, "is a rigorous attempt to capture a concrete moment of a transitory image in all its nuances. The extent to which this transitory quality is captured, is reflected in the designs: the more precise they are, the more vulnerable." While working on a sizable office building design for Porto, Siza discounted any possibility of blending the new building by imitating its surroundings. The area was too important since it was between the historic center of the city and a bridge that has great significance because it was built by Eiffel in 1866. He explained, "We have gone beyond the stage whereby unity of language was believed to be the universal solution for architectural problems. Recognizing that complexity is the nature of the city, transformational movements take on very different forms." Siza, whose full name is Alvaro Joaquim de Meio Siza Vieira, was born on June 25, 1933 in the small coastal town of Matosinhos, just north of Porto, Portugal. Siza studied at the University of Porto School of Architecture from 1949 through 1955, completing his first built works (four houses in Matosinhos) even before ending his studies in 1954. That same year he opened his private practice in Porto. In 1966, Siza began teaching at the University, and in 1976, he was made a tenured Professor of Architecture. In addition to his teaching there, he has been a visiting professor at the Graduate School of Design, Harvard University;

the University of Pennsylvania; Los Andes University of Bogota; and the Ecole Polytechnique of Lausanne. In addition, he has been a guest lecturer at many universities and conferences throughout the world, from the United States, Colombia and Argentina to Spain, Germany, France, Norway, the Netherlands, Switzerland, Austria and England in Europe. In recent years, he has received honors from foundations and institutions in Europe, including, the Alvar Aalto Foundation Gold Medal in 1988, the renowned Mies van der Rohe Foundation Award the Borges & Irmao Bank in Vila do Conde, Portugal (1982-86). In the United States in 1988, the Harvard University Graduate School of Design recognized Siza for his Malagueira Quarter Housing Project in Evora, Portugal that began in 1977, presenting him with the first Veronica Rudge Green Prize, often referred to as the Prince of Wales Prize for Urban Design. In 1977, following the revolution in Portugal, the city government of Evora commissioned Siza to plan a housing project in the rural outskirts of the town. It was to be one of several that he would do for SAAL (servicio de apoio ambulatorio local), the national housing association, consisting of 1200 low-cost, housing units, some one-story and some two-story row houses, all with courtyards. Recent projects and buildings in Portugal include, a new College of Education in Setubal, a new School of Architecture for Porto University, a Modern Art Museum for Porto, the rebuilding of the Chiado, area of Lisbon, damaged by fire in 1988, and a new Library for Aveiro University. In Berlin, his competition winning entry for an apartment building, Schlesisches Tor, Kreuzberg, was recently completed. He has participated in and won numerous other competitions including the renovation of Campo di Marte (1985) in Venice, the renewal of the Casino and Cafe Winkler (1986) in Salzburg, and the cultural center of the Ministry of Defense (1988-89) in Madrid. The Meteorological Centre for the 1992 Olympic Games, in Barcelona, is currently nearing completion. Siza's work ranges from swimming pools to mass housing developments, with residences for individuals, banks, office buildings, restaurants, art galleries, shops, virtually every other kind of structure in between. Quoting from Casabella magazine, July 1986, in explaining Sizas insistence on continuous experimentation, it was said, "Precisely for this reason his architecture can communicate to us an extraordinary sense of freedom and freshness; in it one clearly reads the unfolding of an authentic design adventure. In accepting the risk of such adventure, Alvaro Siza has even been able to bring to the surface, in his architecture, what one feared was in danger of extinction: the heroic spirit of modern architecture."

Firm: Atelier Christian de Portzamparc Famous Works:

LVMH Tower, New York, New York, 1999

Luxembourg Philharmonie, 2005

1994
Name: Tadao Ando
Tadao Ando of Osaka, Japan is a man who is at the pinnacle of success in his own country. In the last few years, he has emerged as a cultural force in the world as well. In 1995, the Pritzker Architecture Prize was formally presented to him within the walls of the Grand Trianon Palace at Versailles, France. There is little doubt that anyone in the world of architecture will not be aware of his work. That work, primarily in reinforced concrete, defines spaces in unique new ways that allow constantly changing patterns of light and wind in all his structures, from homes and apartment complexes to places of worship, public museums and commercial shopping centers. In all my works, light is an important controlling factor, says Ando. I create enclosed spaces mainly by means of thick concrete walls. The primary reason is to create a place for the individual, a zone for oneself within society. When the external factors of a citys environment require the wall to be without openings, the interior must be especially full and satisfying. And further on the subject of walls, Ando writes, At times walls manifest a power that borders on the violent. They have the power to divide space, transfigure place, and create new domains. Walls are the most basic elements of architecture, but they can also be the most enriching. Ando continues, Such things as light and wind only have meaning when they are introduced inside a house in a form cut off from the outside world. I create architectural order on the basis of geometry squares, circles, triangles and rectangles. I try to use forces in the area where I am building, to restore the unity between house and nature (light and wind) that was lost in the process of modernizing Japanese houses during the rapid growth of the fifties and sixties. John Morris Dixon of Progressive Architecture wrote in 1990: The geometry of Andos interior plans, typically involving rectangular systems cut through by curved or angled walls, can look at first glance rather arbitrary and abstract. What one finds in the actual buildings are spaces carefully adjusted to human occupancy. Further, he describes Andos work as reductivist, but the effect is not to deprive us of sensory richness. Far from it. All of his restraint seems aimed at focusing our attention on the relationships of his ample volumes, the play of light on his walls, and the processional sequences he develops. In his childhood, he spent his time mostly in the fields and streets. From ages 10 to 17, he also spent time making wood models of ships, airplanes, and moulds, learning the craft from a carpenter whose shop was across the street from his home. After a brief stint at being a boxer, Ando began his self-education by apprenticing to several relevant persons such as designers and city planners for short periods. I was never a good student. I always preferred learning things on my own outside of class. When I was about 18, I started to visit temples, shrines, and tea houses in Kyoto and Nara, theres a lot of great traditional architecture in the area. I was studying architecture by going to see actual buildings, and reading books about them. He made study trips to Europe and the United States in the sixties to view and analyze great buildings of western civilization, keeping a detailed sketch book which he does even to this day when he travels. About that same time, Ando relates that he discovered a book about Le Corbusier in a secondhand bookstore in Osaka. It took several weeks to save enough money to buy it. Once in his possession, Ando says, I traced the drawings of his early period so many times that all the pages turned black. In my mind, I quite often wonder how Le Corbusier would have thought about this project or that. When he visited Marseilles, Ando recalls visiting Corbus nite dHabitation, and being intrigued by the dynamic use of concrete. Although concrete (along with steel and glass) is Andos favorite material, he has used wood in a few rare projects, including the Japan Pavilion for Expo 92 in Spain. Andos concrete is often referred to as smooth-as-silk. He explains that the quality of

construction does not depend on the mix itself, but rather on the form work into which the concrete is cast. Because of the tradition of wooden architecture in Japan, the craft level of carpentry is very high. Wooden form work, where not a single drop of water will escape from the seams of the forms depends on this. Watertight forms are essential. Otherwise, holes can appear and the surface can crack. His form moulds, or wooden shuttering (as it is called in Japan), are even varnished to achieve smooth-assilk finish to the concrete.

Firm: Famous Works:

Church on the Water, Tomamu, Hokkaid, Japan, 1988

Church of the Light (interior), Ibaraki, Osaka, Japan,

1996
Name: Rafael Moneo
Jos Rafael Moneo was born in the small town of Tudela, Navarra, Spain in May of 1937. His mother, Teresa, was the daughter of a magistrate from Aragn. His father, Rafael, whose family roots were in Tudela, worked there all his life as an industrial engineer. He has a sister, Teresa, who studied philosophy and literature. His late brother, Mariano, studied engineering. Moneo confesses that as he grew up, he was first attracted to philosophy and painting; he did not have a clear calling to be an architect, but attributes his inclination toward architecture to his fathers interest in the subject. It was with some difficulty that he left his close family ties in 1954 to go to Madrid to study architecture. He obtained his architectural degree in 1961 from the Madrid University School of Architecture. He credits his professor of the history of architecture, Leopoldo Torres Balbs with influencing him greatly While still a student, he worked with architect Francisco Javier Senz de Oiza, saying I wanted to become an architect in the same fashion as Oiza with all of the enthusiasm professed by him in his work. When Moneo completed his degree, he went to Hellebaeck, Denmark to

work with Jrn Utzon, whom I saw, says Moneo, as the legitimate heir of the masters of the heroic period. Utzon was working on the design of the Sydney Opera House in Australia. Before returning to Spain in 1962, Moneo says, I traveled around the Scandinavian countries where I was lucky enough to be received by Alvar Aalto in Helsinki. It was wonderful, says Moneo, to be in Rome with her, a person who shared my enthusiasm for architecture without being an architect. Under a two year fellowship, he stayed on at the Spanish Academy in Rome, a period that he calls fundamental to my career.. That same year, he received his first important commission to design the Diestre Factory in Zaragoza. The following year, he began teaching at the Madrid University School of Architecture, as well as publishing articles on architecture. During those years there, he actively participated in gatherings of architects which they called Little Congresses that were attended by the most active Spanish architects. Among them were Carlos de Miguel, Oiza, Molezn, Corrales, Garcia de Paredes, etc. from Madrid, and Oriol Bohigas, Federico Correa, Tusquets, Clotet, Bonet, etc from Barcelona. Foreign architects attended as well, including Alvaro Siza of Portugal, Aldo Rossi of Italy, (both of whom later were Pritzker Laureates), as well as Peter Eisenman of the United States and Gregotti. Of these gatherings, Moneo says, a new phase of architectural life in Spain was initiated. In 1968, he received his second important commission, the Urumea Project, an apartment building in San Sebastin. It was also the year of the birth of his second daughter, Teresa. A third daughter, Clara Matilde, would be born in 1975. He describes the period in his own words: Life in schools during those years was hard; the student agitation of 1968, and the political unrest during the last years of Franco, contributed to making academic activity precarious. It was a battle trying to make students understand architecture as interesting, but gradually the environment changed. It was during this time that with a group of architects, I founded the magazine <em>Arquitectura Bis</em>, where many of my writings were published. In 1974, he received his first commission for a work in Madrid, the Bankinter Office Building, which was accomplished in collaboration with Ramn Bescs. Shortly thereafter, he was commissioned to design the City Hall for Logroo. These two works would allow me to clearly express by architectural vision, says Moneo. In 1976, Moneo was invited to the United States to be a visiting fellow for a year at the Institute for Architecture and Urban Studies and to teach at the Cooper Union School of Architecture, both in New York City. The experience for the whole family was profound libraries, expositions, conferences, concertsand certainly marked our lives. When they moved back to Madrid, they became totally absorbed in life there. His wife, Beln Feduchi played an important role in activities related to their founding of B.D. Madrid, a company dedicated to the design and promotion of contemporary furniture. It was during this same period, the late seventies and early eighties, that he became a visiting professor at the schools of architecture of both Princeton and Harvard Universities, as well as the University of Lausanne, Switzerland. In 1980 he became a chaired professor at the School of Architecture in Madrid for five years. At that time, he received the commission for the Museum of Roman Art at Mrida. Two years later, the Previsin Espaola Building at Seville would become his project as well. In 1984, Moneo was named chairman of the architecture department of the Harvard University Graduate School of Design, a position he held until 1990.

Famous Works:

Bankinter, Madrid, Spain, 1977

Atocha Station, Madrid, Spain, 1992

1997
Name: Sverre Fehn
Sverre Fehn (1924-2009) has long been recognized in Europe as one of Norway's most gifted architects. Categorized as a modernist by most architectural writers, Fehn himself says, I have never thought of myself as modern, but I did absorb the anti-monumental and the pictorial world of LeCorbusier, as well as the functionalism of the small villages of North Africa. You might say I came of age in the shadow of modernism. I always thought I was running away from traditional Norwegian architecture, says Fehn, but I soon realized that I was operating within its context. How I interpret the site of a project, the light, and the building materials have a strong relationship to my origins. Born in Kongsberg, Norway in 1924, he attended the Oslo School of Architecture and received his degree in 1949. Fehn, along with NorbergSchulz, Grung, Mjelva and Vesterlid, all other Norwegian architects of the same generation, and Jrn Utzon (the Danish architect who later gained fame for the Sydney Opera House, Australia) formed an organization which was the Norwegian branch of CIAM (International Congress of Modern Architecture), called PAGON (Progressive Architects Group Oslo Norway) that had a profound influence, creating architecture which had a firm foundation in the Modern Movement, but was expressed in terms of the materials and language of their own region and time. Fehn received the French State Scholarship which allowed him to live in Paris in 1953 and 1954. In reminiscing about that period, Fehn recalls that it was his generation that distanced itself from Le Corbusier and his urbanistic world. He received international attention for his Norwegian Pavilion at the World Exhibition in Brussels, Belgium in 1958, and again in 1962 for his Nordic Pavilion at the Venice Biennale. When asked what the most important part of his architecture is, Fehn has replied that it is above all, the construction, be it wood or concrete, and harmony, rhythm, and honesty in the use of those materials. He calls the act of building brutal, and elaborates, When I build on a site in nature

that is totally unspoiled, it is a fight, an attack by our culture on nature. In this confrontation, I strive to make a building that will make people more aware of the beauty of the setting, and when looking at the building in the setting, a hope for a new consciousness to see the beauty there, as well. Fehn considers light another material of construction. And nowhere is this more evident that in the Venice Biennale Nordic Pavilion. The building consists of concrete bearing walls, with a two-way concrete clear-span roof with openings for tree trunks where necessary. The building is literally built around growing trees. The leafy branches of the trees, and the design of the roof beams to diffuse the light from the sun, provide the interior exhibition space with a soft light that has been characterized as Nordic. His Glacier Museum has been hailed as a major landmark in contemporary architecture. The building stands on the plain carved out by the Josstedal Glacier at the mouth of the Fjaerland Fjord. The museum is the center of a panorama formed by the steep mountainsides and the fjord with the glacier on top. As you approach the site by boat, the white concrete of the museum seems to lie as a rock on the mountainside, says Fehn. The rocks that lie on the hills of the Scandinavian landscape have always had an attraction for me. These rocks were the inspiration for building in concrete. In 1971, he became a professor of architecture at his alma mater in Oslo, where he taught until 1993. Fehn has lectured extensively in Europe; including Vasa University, Finland, Denmark's Architectural School of Aarhus, the Stockholm Architectural Association, the University of Trondheim, the International Laboratory of Architecture & Design in Urbino, Italy, the Architectural Association in London. He has also lectured in Paris, Stuttgart, Germany; Barcelona, Spain; and Rome. In the United States, he has been a guest lecturer at The Cooper Union in New York City, Cranbrook Academy of Arts in Bloomfield Hills, Michigan, Massachusetts Institute of Technology, and Harvard, Cornell, and Yale universities.

Firm: Famous Works:

The Bodker House, Oslo, Norway, 1967

Aukrust Museum, Alvdal, Norway, 1995

1998
Name: Renzo Piano
Renzo Piano, the 1998 Pritzker Prize winner, is perhaps best known for his controversial design of the Centre Georges Pompidou, located in the heart of Paris and completed in 1978. Conceived in collaboration with English architect, Richard Rogers and described by Piano as a joyful urban machine ... a creature that might have come from a Jules

Verne book, Beaubourg, as it is called, has become a cultural icon, expressive of Pianos love of technology. Born in Genoa in 1937, Piano comes from a family of builders. Following his graduation from Milan Polytechnic Architecture School in 1964, he worked in his fathers construction company and later was associated with the offices of Louis Kahn in Philadelphia and Z.S. Mackowsky in London. He formed Renzo Piano Building Workshop in 1980, which now has offices in Paris, Genoa and Berlin. Piano is a prolific architect whose wide-ranging repertoire includes a housing complex on the rue de Meaux, Paris (1988-91); the worlds largest air terminal, built on a man-made island in Osaka Bay in Japan (1988-94); the conversion of a 1920s Fiat manufacturing plant in Turin into a multifaceted center for technology and trade fairs (1985-93); and the San Nicola Soccer Stadium in Bari, Italy (1987-90), site of the 1990 World Soccer Championships. In 1992, he embarked on the $500 million rehabilitation of Genoas ancient harbor, a gigantic urban reclamation project conceived in celebration of the five hundredth anniversary of the discovery of America. His respect for the character of older cities won him the international competition to develop the master plan for the reconstruction of Potsdamer Platz, which was the center of Berlins social and cultural life before World War II

Firm: Famous Works:

Tjibaou Cultural Centre, Nouma, New Caledonia, 1998

The Menil Collection Museum, Houston, Texas, 1987

1999
Name: Norman Foster
Norman Foster was born in Manchester in 1935. After graduating from Manchester University School of Architecture and City Planning in 1961 he won a Henry Fellowship to Yale University, where he gained a Masters Degree in Architecture. He is the founder and chairman of Foster and Partners. Founded in London in 1967, it is now a worldwide practice, with project offices in more than twenty countries. Over the past four decades the company has been responsible for a strikingly wide range of work, from urban master plans, public infrastructure, airports, civic

and cultural buildings, offices and workplaces to private houses and product design. Foster has established an international reputation with projects as diverse as the New German Parliament in the Reichstag in Berlin, Chek Lap Kok International Airport and the Hongkong and Shanghai Bank in Hong Kong, Commerzbank Headquarters in Frankfurt, Willis Faber & Dumas Head Office in Ipswich, and the Sainsbury Centre for Visual Arts in Norwich. Since its inception, the practice has received more than 400 awards and citations for excellence and has won numerous international and national competitions. He became the 21st Pritzker Architecture Prize Laureate in 1999. He has been awarded the American Institute of Architects Gold Medal for Architecture (1994), the Royal Gold Medal for Architecture (1983), and the Gold Medal of the French Academy of Architecture (1991). In 1990 he was granted a Knighthood in the Queens Birthday Honours, and in 1999 was honored with a Life Peerage, becoming The Lord Foster of Thames Bank. Foster has lectured throughout the world and has taught architecture in the United Kingdom and the United States. He has been Vice-President of the Architectural Association in London, Council Member of the Royal College of Art and was a founding trustee of the Architecture Foundation of London

Firm: Foster + Partners Famous Works:

Willis Faber and Dumas, Ipswich, United Kingdom, 1975

Commerzbank Headquarters, Frankfurt, Germany, 1997

2000
Name: Rem Koolhas
Born in Rotterdam, Rem Koolhaas spent four years of his youth in Indonesia, where his father served as director or a newly formed cultural institute. Following in the footsteps of his literary father, Koolhaas began his career as a writer. He was a journalist for the Haase Post in The Hague, and later tried his hand at writing movie scripts. Koolhaas's writings won him fame in the field of architecture before he completed a single building. After graduating from the

Architecture Association School in London in 1972, he received the Harkness Fellowship for travel and research in the United States. During this period, he wroteDelirious New York, which he described as a "retroactive manifesto for Manhattan" and which critics hailed as a classic text on modern architecture and society. In 1975, Koolhaas founded the Office for Metropolitan Architecture (OMA) in London with Madelon Vriesendorm and Elia and Zoe Zenghelis. Focusing on contemporary design, the company won a competition for an addition to the Parliament in The Hague and a major commission to develop a master plan for a housing quarter in Amsterdam. In 1987, Koolhaas was hired to design and build the Netherlands Dance Theater in The Hague. Composed of three areas, including a stage and auditorium, a rehearsal studio, and a complex of offices and dressing rooms, the theater garnered Koolhaas immediate acclaim. Delirious New York was reprinted in 1994 under the title Rem Koolhaas and the Place of Modern Architecture. The same year, he published S,M,L,XL in collaboration with the Canadian graphic designer Bruce Mau. Described as a novel about architecture, the book combines works produced by Koolhaas's Office for Metropolitan Architecture with photos, plans, fiction, cartoons and random thoughts. The title refers to the way the architect decided to arrange the book: instead of a chronological timeline, it is organized by project size. Koolhaas has designed a number of residences, cultural buildings and an educatorium a name alluding to a factory of learning, a shared facility at Utrecht University, among many other projects and planning commissions. In a major competition, Koolhaas was selected to design the new Campus Center at Illinois Institute of Technology in Chicago, one of the first new structures on the historic campus designed by Mies Van der Rohe.

Firm: OMA Famous Works:

Netherlands Dance Theatre, The Hague, Netherlands, 1988 Grand Palais, Lille, France, 1994

2001
Name: Jacques Herzog and Pierre de Meuron
Herzog & de Meuron Architekten is a Swiss architecture firm, founded and headquartered in Basel, Switzerland in 1978. The careers of founders and senior partners Jacques Herzog (born 1950), and Pierre de Meuron (born 1950), closely paralleled one another, with both attending the Swiss Federal Institute of Technology (ETH) in Zrich. They are perhaps best known for their conversion of the giant Bankside Power Station in London to the new home of the Tate Museum of Modern Art (2000). Jacques Herzog and Pierre de Meuron have been visiting professors at the Harvard University Graduate School of Design since 1994 and professors at ETH Zrich since 1999. Herzog & de Meuron received international attention very early in their career with the Blue House in Oberwil, Switzerland (1980); the Stone House in Tavole, Italy (1988); and the Apartment Building along a Party Wall in Basel (1988). The firms breakthrough project was the Ricola Storage Building in Laufen, Switzerland (1987). Renown in the United States came with Dominus Winery in Yountville, California (1998). The Goetz Collection, a Gallery for a Private Collection of Modern Art in Munich (1992), stands at the beginning of a series of internationally acclaimed museum buildings such as the Kppersmhle Museum for the Grothe Collection in Duisburg, Germany (1999). In many projects the architects have worked together with artists, an eminent example of that practice being the collaboration with Rmy Zaugg, Thomas Ruff and with Michael Craig-Martin. Professionally, the Herzog & de Meuron partnership has grown to become an office with over 120 people worldwide. In addition to their headquarters in Basel, they have offices in London, Munich and San Francisco. Herzog has explained, We work in teams, but the teams are not permanent. We rearrange them as new projects begin. All of the work results from discussions between Pierre and me, as well as our other partners, Harry Gugger and Christine Binswanger. The work by various teams may involve many different talents to achieve the best results which is a final product called architecture by Herzog & de Meuron.

Firm: Herzog & de Meuron Architekten Famous Works:

Apartment Building along a Party Wall, Basel, Switzerland, 1988

Central Signal Tower SBB, Basel, Switzerland, 1997

2002
Name: Glenn Murcutt
Glenn Murcutt, the son of Australian parents, was born in London in 1936. He grew up in the Morobe district of New Guinea, where he developed an appreciation for simple, primitive architecture. His father introduced him to the architecture of Ludwig Mies van der Rohe and the philosophies of Henry David Thoreau, both of which influenced his architectural style.Murcutt studied at the University of New South Wales, graduating in 1961 with a degree in architecture. After completing his university studies, Murcutt traveled for two years, returning to Sydney in 1964 to work in the office of Ancher, Mortlock, Murray and Woolley. He remained with this firm for five years before he established his own practice in 1970. His small, but exemplary practice is well known for its environmentally sensitive designs with a distinctive Australian character. His architecture has remained consistent over time. His buildings, which are principally residential, are a harmonious blend of modernist sensibility, local craftsmanship, indigenous structures, and respect for nature. They are both unusual in character, and yet curiously familiar. He has been a visiting professor at many schools of architecture, most recently at Yale and Washington universities in the United States. His work is internationally acclaimed and he is a highly regarded as a teacher, critic, and lecturer around the world

Firm: Famous Works:

Arthur & Yvonne Boyd Education Centre, New South Wales, Australia, 1999

Done House, New South Wales, Australia, 1991

2003

Name: Jorn Utzon

Danish architect Jrn Utzon was born in 1918. While in secondary school, he began helping his father, director of a shipyard in Alborg, Denmark, and brilliant naval architect, by studying new designs, drawing up plans and making models. This activity opened another possibility that of training to be a naval architect like his father. However, one of his fathers cousins, Einar Utzon-Frank, was a sculptor as well as a professor at the Royal Academy of Fine Arts. He influenced Jrn, who took an interest in sculpting, and after secondary school, he won admission to the Royal Academy of Fine Arts in Copenhagen. When he graduated from the Academy of Fine Arts in 1942, he, like many architects affected by World War II, fled to neutral Sweden where he was employed in the Stockholm office of Hakon Ahlberg for the duration of the war. He then went to Finland to work with Alvar Aalto. An admirer of the ideas of Gunnar Asplund, as well as Frank Lloyd Wright while still in school, Utzon acknowledges that Aalto, Asplund and Wright were all major influences in his own work. Over the next decade, he traveled extensively, visiting Morocco, Mexico, the United States, China, Japan, India, and Australia, the latter destined to become a major factor in his life. Most of Utzons projects have been completed in his native Denmark, but he is best known for the Sydney Opera House, an iconic building of curving roof forms. Construction began in 1959 and was not complete until 1973, and Utzon left the project in 1966 after bitter arguments with Australian officials regarding cost and schedule issues. His other well known projects include the Fredensborg Housing Estate (1959-62), the Kingo Housing Estate (1956-58), Bagsvaerd Church (1973-76), and the Skagen Nature Center (2001), all in Denmark. The Kingo Houses in Helsingr are sixty-three L-shaped houses that were built in rows following the contours of the site, providing views for each house, and access to sunlight and shelter from the wind. The Kingo Houses are often praised for their combination of simplicity and inventiveness. Utzon's next major design, after returning to Denmark from Sydney, was the Bagsvaerd Church in Copenhagen. Utzon planned the interior vaults after being inspired by banks of clouds. Utzon moved to the Spanish island of Majorca in the early 1970s. With his wife he lived in a house designed by himself, Can Feliz, until his death in 2008. The architecture is very solid and simple. A small window allows light to funnel in to the living space and views toward the sea.

Firm: Jorn Utzon

Famous Works:

Sydney Opera House, Sydney, Australia, 1973

Kuwait National Assembly, Kuwait, 1982

2004
Name: Zaha Hadid
Born in Baghdad Iraq in 1950, Zaha Hadid commenced her college studies at the American University in Beirut, in the field of mathematics. She moved to London in 1972 to study architecture at the Architectural Association and upon graduation in 1977, she joined the Office of Metropolitan Architecture (OMA). She also taught at the Architectural Association (AA) with OMA collaborators Rem Koolhaas and Elia Zenghelis. She began her own practice in London in 1980 and won the prestigious competition for the Hong Kong Peak Club, a leisure and recreational center in 1983. Painting and drawing, especially in her early period, are important techniques of investigation for her design work. Ever since her 1983 retrospective exhibition at the AA in London, her architecture has been shown in exhibitions worldwide and many of her works are held in important museum collections. Known as an architect who consistently pushes the boundaries of architecture and urban design, her work experiments with new spatial concepts intensifying existing urban landscapes and encompassing all fields of design, from the urban scale to interiors and furniture. She is well-known for some of her seminal built works, such at the Vitra Fire Station (1993), Weil am Rhein, Germany, the Mind Zone at the Millennium Dome (1999) Greenwich, UK, a ski jump (2002) in Innsbruck, Austria and the Rosenthal Center for Contemporary Art (2003) in Cincinnati, Ohio. Parallel with her private practice, Hadid has continued to be involved in academics, holding chairs and guest professorships at Harvard University, Yale University, the University of Illinois at Chicago, Columbia University, the University of Visual Arts in Hamburg and the University of Applied Arts in Vienna.

Firm: Zaha Hadid Architects

Famous Works:

The Richard and Lois Rosenthal Center for Contemporary Art, Cincinnati, Ohio, 2003

Bergisel Ski Jump, Innsbruck, Austria, 2002

2005
Name: Thom Mayne
Thom Mayne, the 2005 Pritzker Architecture Prize laureate, is a founder and design principal of Morphosis, an interdisciplinary and collectively organized architecture firm. Morphosis has always been known for uncompromising designs and a drive to surpass the bounds of traditional forms and materials, while also working to carve out a territory beyond the limits of modernism and postmodernism. The firm was founded in 1972 by Mayne and Jim Stafford and one year later Michael Rotondi joined them and remained as partner until 1991. Types of buildings undertaken by Morphosis range from residential, institutional, and civic buildings, to large urban planning projects. Thom Mayne was born in Westbury, Connecticut in 1944. He lived for part of his childhood in Gary, Indiana. When he was ten, his mother moved the family to Whittier, California. Although he enrolled in California State Polytechnic University, Pomona, he received his bachelor of architecture degree from the University of Southern California in 1968. He then worked for two years as a planner for Victor Gruen. He began his teaching career at Cal Poly at Pomona, but soon he, along with six colleagues, was fired. That was the genesis of the founding of the Southern California Institute of Architecture (SCI-Arc) in 1972. He returned to school and received his master of architecture degree from Harvard University in 1978. He has held teaching posts at Columbia University, Harvard University, Yale University, the Berlage Institute in the Netherlands and the Bartlett School of Architecture in London. In addition to being the 2005 Pritzker Architecture prize laureate, his honors include the Rome Prize from the

American Academy of Design in Rome (1987), Member-Elect of the American Academy of Arts and Letters and the 2000 American Institute of Architect-Los Angeles Chapter Gold Medal in Architecture ..

Firm: Morphosis Architects Famous Works:

Caltrans District 7 Headquarters, Los Angeles, California, 2004

Blades Residence, Santa Barbara, California, 1995

2006
Name: Paolo Mendes Da Rocha
Born in Brazil in 1928, Mendes da Rocha began his career in So Paulo in the 1950s as a member of the Paulist brutalist avant-garde. He received a degree in architecture in 1954, opened his office in 1955 and soon thereafter created an early masterpiece, the Athletic Club of So Paulo (1957). Mendes da Rocha has maintained a private practice, taught at the University of So Paulo and acted as President of the Brazilian Institute for Architects. He has received many awards, including the Mies van der Rohe prize for Latin American Architecture (2000). The award paid tribute to the architects respectful renovation of the Pinacoteca do Estado, Sao Paulos oldest fine arts museum. One of the most consistently daring of twentieth century architects, Mendes da Rocha has worked notably in the public realm, creating concrete and steel forms of immense power and grace. For the Brazilian pavilion at Expo 70 in Osaka, Japan, he balanced a building on a single point of terrain with audacious elegance. The next year, he placed as a finalist in competition for design of the Centre George Pompidou, Paris. Among his widely known built works is the Museum of Contemporary Art (1975) at the University of So Paulo, the Forma Furniture showroom (1987) in So Paulo and the Brazilian Sculpture Museum (1987-1992). Recent projects include a master plan for Vigo University in Galicia, Spain, and the Boulevard des Sports in Paris, a complex intended to receive the 2008 Olympic Games. In the imaginative modernist spirit that marks his buildings, Mendes da Rocha designed the Paulistano Armchair (1957) to be part of the living rooms of the Athletic Club of So Paulo. Made by bending a single steel bar and attaching a leather seat and back, the elegant sling chair pushes the limits of

structural form, yet remains completely comfortable and functional. In 2006, Mendes da Rocha received the Pritzker Architecture Prize. The jury cited his deep understanding of the poetics of space and an architecture of profound social engagement.

Firm: Famous Works:

The Paulistano Athletic Club, So Paulo, Brazil, 1958

Residence for Mario Masetti, Cava Estate, So Paulo, Brazil, 1995

2007
Name: Richard Rogers
Richard Rogers is best known for such pioneering buildings as the Centre Pompidou in Paris, the headquarters for Lloyds of London, the European Court of Human Rights in Strasbourg and the Millennium Dome in London. His practice, Richard Rogers Partnership (RRP), was founded in 1977 and has offices in London, Barcelona, Madrid and Tokyo. RRP has designed two major airport projects Terminal 5 at Londons Heathrow Airport and the New Area Terminal at Madrid Barajas Airport, as well as highrise office projects in London, a new law court complex in Antwerp, the National Assembly for Wales in Cardiff, and a hotel and conference centre in Barcelona. The practice also has a wealth of experience in urban master planning with major schemes in London, Lisbon, Berlin, New York and Seoul. He was born in Florence, Italy in 1933 to British parents. He studied at the Architectural Association School (1953-1959) in London and received the Diploma of Architecture in 1959. The following year he studied at the Yale University School of Architecture in New Haven, Connecticut on a Fulbright scholarship, and received the Master of Architecture degree in 1962. Returning from America, Rogers formed a partnership with Norman and Wendy Foster and Su Rogers (1963-1968) in London, called Team 4. They completed an industrial building (1967) at Swindon, Wiltshire, England, for Reliance Controls Ltd. The Team 4 arrangement was followed by the partnership of Richard and Su Rogers (1968-1970) and subsequently Richard Rogers Partnership (RRP), founded in 1977. In 1996, Rogers was introduced into the House of

Lords, taking the title "The Lord Rogers of Riverside." The following year, Rogers received an honorary professorship from the Thames Valley University. He was awarded the Praemium Imperiale by the Japan Art Association in 2000 in addition to the RIBA Gold Medal that he received in 1985 and the 1999 Thomas Jefferson Memorial Foundation Medal. In 1998, he was appointed by the Deputy Prime Minister to chair the UK Governments Urban Task Force and he is currently Chief Advisor on Architecture and Urbanism to the Mayor of London .

Firm: Rogers Stirk Harbour + Partners Famous Works:

The Leadenhall Building, London, England, 2006

175 Greenwich Street, World Trade Center Site, New York, New York, 2006

2008
Name: Jean Nouvel
Since the beginning of his architectural career in the 1970s, Frenchman Jean Nouvel has broken the aesthetic of modernism and post-modernism to create a stylistic language all his own. He places enormous importance on designing a building harmonious with its surroundings, said Bill Lacy in his book, One Hundred Contemporary Architects. Lacy, who was executive director of the Pritzker Architecture Prize from 1988 until 2005 when he retired, continued, In the end that buildings design may borrow from traditional and non-traditional forms, but its presentation is entirely unique. Jean Nouvels projects transform the landscapes in which they are built, often becoming major urban events in their own right. His unique approach, driven by the specificities of context, program, and site has proven effective in numerous successes around the world. One such success, a building that first brought Nouvel international recognition is the Institut du

Monde Arabe (IMA) in Paris where one of its facades is made entirely of mechanical oculi operated by photoelectric cells that automatically open and close in response to light levels. The French critic, Alain de Gourcuff, said of it, The overall effect is at once highly decorative in a Middle Eastern way and projects state-of-the-art electronics. Commissioned in 1981 as one of the first Grand Projects initiated by President Francois Mitterand, IMA was completed in 1987 and consists of a museum, a library, temporary exhibit spaces, childrens workshops, a documentation center, an auditorium and a rooftop restaurant. A+Udescribed the building as a modern western building that pays tribute to Arabic culture. The Arab World Institute is just one of more than two hundred projects by J ean Nouvel that the Pritzker Architecture Prize Jury has singled out in its formal citation. The Guthrie Theater in Minneapolis, Minnesota is another of the projects mentioned in the citation. The Pritzker Jury says of the Guthrie, The iconic Guthrie Theater in Minneapolis, Minnesota both merges and contrasts with its surroundings. It is responsive to the city and the nearby Mississippi River, and yet, it is also an expression of theatricality and the magical world of performance. That theatricality is no accident. Nouvel has often compared his role as architect to that of the film director. In an interview published in El Croquisin 2002, he said, Everything is theatrical. I have worked for a long time as a scenographer, even on social housing ... scenography is the relationship between objects and matter that we want to display to somebody who is watching. In effect, in every building there is a way of proving a threehundred-and-sixty degree view over the landscape, as in Lucerne. The use of the word scenography doesnt bother me as long as it is used in the right sense. In other interviews, he has often said that architecture and the cinema are very close. Architecture exists, like cinema, in a dimension of time and movement. One thinks, conceives and reads a building in terms of sequences. To erect a building is to predict and seek effects of contrast and linkage bound up with the succession of spaces through which one passes, Nouvel explains.

Firm: Ateliers Jean Nouvel Famous Works:

Nemausus I public housing, Nimes, France, 1987

Tour de Verre, New York, New York, 2007 (in progress)

2009

Name: Peter Zumthor

Peter Zumthor was born on April 26, 1943, the son of a cabinet maker, Oscar Zumthor, in Basel, Switzerland. He trained as a cabinet maker from 1958 to 1962. From 1963-67, he studied at the Kunstgewerbeschule, Vorkurs and Fachklasse with further studies in design at Pratt Institute in New York. In 1967, he was employed by the Canton of Graubnden (Switzerland) in the Department for the Preservation of Monuments working as a building and planning consultant and architectural analyst of historical villages, in addition to realizing some restorations. He established his own practice in 1979 in Haldenstein, Switzerland where he still works with a small staff of fifteen. Zumthor is married to Annalisa Zumthor-Cuorad. They have three children, all adults, Anna Katharina, Peter Conradin, and Jon Paulin, and two grandchildren. Since 1996, he has been a professor at the Academy of Architecture, Universit della Svizzera Italiana, Mendrisio. He has also been a visiting professor at the University of Southern California Institute of Architecture and SCI-ARC in Los Angeles in 1988; at the Technische Universitt, Munich in 1989; and at the Graduate School of Design, Harvard University in 1999. His many awards include the Praemium Imperiale from the Japan Art Association in 2008 as well as the Carlsberg Architecture Prize in Denmark in 1998, and the Mies van der Rohe Award for European Architecture in 1999. In 2006, he received the Thomas Jefferson Foundation Medal in Architecture from the University of Virginia. The American Academy of Arts and Letters bestowed the Arnold W. Brunner Memorial Prize in Architecture in 2008. In the recent book published by Barrons Educational Series, Inc. titled,Architectura, Elements of Architectural Style, with the distinguished architectural historian from Australia, Professor Miles Lewis, as general editor, the Zumthors Thermal Bath building at Vals is described as a superb example of simple detailing that is used to create highly atmospheric spaces. The design contrasts cool, gray stone walls with the warmth of bronze railings, and light and water are employed to sculpt the spaces. The horizontal joints of the stonework mimic the horizontal lines of the water, and there is a subtle change in the texture of the stone at the waterline. Skylights inserted into narrow slots in the ceiling create a dramatic line of light that accentuates the fluidity of the water. Every detail of the building thus reinforces the importance of the bath on a variety of levels. In the book titled Thinking Architecture, first published by Birkhauser in 1998, Zumthor set down in his own words a philosophy of architecture. One sample of his thoughts is as follows: I believe that architecture today needs to reflect on the tasks and possibilities which are inherently its own. Architecture is not a vehicle or a symbol for things that do not belong to its essence. In a society that celebrates the inessential, architecture can put up a resistance, counteract the waste of forms and meanings, and speak its own language. I believe that the language of architecture is not a question of a specific style. Every building is built for a specific use in a specific place and for a specific society. My buildings try to answer the questions that emerge from these simple facts as precisely and critically as they can.

Firm: Famous Works:

Swiss Sound Box, Swiss Pavilion, Expo 2000, Hanover, Germany 2000

Saint Benedict Chapel, Sumvitg, Graubnden, Switzerland, 1988

2010
Name: Kazuyo Sejima
In 1995, Kazuyo Sejima (born in 1956) and Ryue Nishizawa (born in 1966) founded SANAA, the Tokyo architecture studio that has designed innovative buildings in Japan and around the world. Examples of their, groundbreaking work include, among others, the Rolex Learning Center in Lausanne, Switzerland; the Toledo Museum of Art's Glass Pavilion in Toledo, Ohio; the New Museum of Contemporary Art in New York, NY: the Serpentine Pavilion in London; the Christian Dior Building in Omotesando in Tokyo; and the 21st Century Museum of Contemporary Art in Kanazawa. The latter won the Golden Lion in 2004 for the most significant work in the Ninth International Architecture Exhibition of the Venice Biennale. Born in Japans prefecture of Ibaraki (northeast of Tokyo), Kazuyo Sejima received a degree in architecture at the Japan Women's University. Upon completion of her studies, she began working in the office of architect Toyo Ito. In 1987, she opened her own studio in Tokyo, and in 1992, she was named the Japan Institute of Architects Young Architect of the Year in Japan. Kazuyo Sejima has taught at Princeton University, the Polytechnique de Lausanne, Tama Art University, and Keio University. Ryue Nishizawa hails from the Kanagawa prefecture (just south of Tokyo), where he graduated from Yokohama National University with a masters degree in architecture in 1990. He established the office Ryue Nishizawa in 1997, and he holds a professorship at Yokohama National University. Together, Kazuyo Sejima and Ryue Nishizawa were awarded the Arnold Brunner Memorial Medal of the American Academy of Arts and Letters in 2002, a design prize from the Architectural Institute of Japan in 2006, and the Kunstpreis Berlin of 2007 from the Berlin Academy of Arts. In addition, they have presented their work throughout the United States and Europe in exhibitions and as visiting lecturers at numerous prestigious universities.

Famous Works:

The Rolex Learning Center, Ecole Polytechnique Federale, Lausanne, Switzerland, 2009

21st Century Museum of Contemporary Art, Kanazawa, Ishikawa, Japan, 2004

2011

Name: Eduardo Souto de Moura

Eduardo Souto de Moura was born in Porto, Portugal in 1952. His father was a doctor (ophthalmologist) and his mother a home maker. He has one brother and one sister. The sister is also a doctor and his brother is a lawyer with a political careerformerly he was Attorney General of Portugal. Following his early years at the Italian School, Souto de Moura enrolled in the School of Fine Arts in Porto, where he began as an art student, studying sculpture, but eventually achieving his degree in architecture. He credits a meeting with Donald Judd in Zurich for the switch from art to architecture. While still a student, he worked for architect No Dinis and then lvaro Siza, the latter for five years. While studying and working with his professor of urbanism, Architect Fernandes de S, he received his first commission, a market project in Braga which has since been demolished because of changing business patterns. After 2 years of military service he won the competition for the Cultural Centre in Porto. The beginning of his career as an independent architect. He is frequently invited as a guest professor to Lausanne and Zurich in Switzerland as well as Harvard in the United States. These guest lectures at universities and seminars over the years have afforded him the opportunity to meet many colleagues in the field, among them Jacques Herzog and Aldo Rossi. He is married and he has 3 daughters: Maria Luisa, Maria da Paz e Maria Eduarda. His wife, Luisa Penha, and the eldest daughter are architects, the second is a nurse and the third is on the Faculty of Architecture of the University of Oporto for the 3rd year. Along with his architecture practice, Souto de Moura is a professor at the University of Oporto, and is a visiting professor at Geneva, Paris-Belleville, Harvard, Dublin and the ETH Zurich and Lausanne. Often described as a neo-Miesian, but one who constantly strives for

originality, Souto de Moura has achieved much praise for his exquisite use of materialsgranite, wood, marble, brick, steel, concreteas well as his unexpected use of color. Souto de Moura is clear on his view of the use of materials, saying, I avoid using endangered or protected species. I think we should use wood in moderation and replant our forests as we use the wood. We have to use wood because it is one of the finest materials available. In an interview with Croquis, he explained, I find Mies increasingly fascinating ... There is a way of reading him which is just to regard him as a minimalist. But he always oscillated between classicism and neoplasticism ... You only have to remember the last construction of his life, the IBM building, with that powerful travertine base that he drilled through to produce a gigantic door. Then on the other hand, he arrived in Barcelona and did two pavilions, didnt he? One was abstract and neo plastic and the other one was classical, symmetrical with closed corners ... He was experimenting. He was already so modern he was post. Souto de Moura acknowledges the Miesian influence, speaking of his Burgo Tower, but refers people to something written by Italian journalist and critic, Francesco Dal Co, its better not to be original, but good, rather than wanting to be very original and bad. At a series of forums called the Holcim Forum on sustainable architecture, Souto de Moura stated, For me, architecture is a global issue. There is no ecological architecture, no intelligent architecture, no sustainable architecturethere is only good architecture. There are always problems we must not neglect; for example, energy, resources, costs, social aspectsone must always pay attention to all these.

Firm: Famous Works:

Municipal Stadium, Braga, Portugal, 2003

Paula Rego Museum, Cascais, Portugal, 2008

2012

Name: Wang Shu

Architect and Professor Wang Shu was born in 1963 in Urumqi, a city in Xinjiang, the western most province of China. He received his first degree in architecture in 1985 and his Masters degree in 1988, both from the Nan Nanjing Institute of Technology. Wang Shu and his wife, Lu Wenyu, founded Amateur Architecture Studio in 1997 in Hangzhou, China. The office name references the approach an amateur builder takesone based on spontaneity, craft skills and cultural traditions. Wang Shu spent a number of years working on building sites to learn traditional skills. The firm utilizes his knowledge of everyday techniques to adapt and transform materials for contemporary projects. This unique combination of traditional understanding, experimental building tactics and intensive research defines the basis for the studios architectural projects. The studio takes a critical view of the architecture professions part in the demolition and destruction of large urban areas. At the 2006 Venice Architecture Biennale, Amateur Architecture Studio expressed views of on-going demolitions in Tiled Garden, an installation made from 66,000 recycled tiles salvaged from demolition sites. Rather than looking toward the West for inspiration, as many of Shus contemporaries do, his work is rooted in the context of Chinese history and culture. Wang Shu has often explained in lectures and interviews that to me architecture is spontaneous for the simple reason that architecture is a matter of everyday life. When I say that I build a house instead of a building, I am thinking of something that is closer to life, everyday life. When I named my studio Amateur Architecture, it was to emphasize the spontaneous and experimental aspects of my work, as opposed to being official and monumental." Wang Shu is Professor and Head of the Architecture School at China Academy of Art, Hangzhou. In 2011, he became the first Chinese Kenzo Tange Visiting Professor at the Harvard Graduate School of Design in Cambridge, Massachusetts. He has exhibited individually and participated in several major international exhibitions including: the 2010 Venice Architecture Biennale at which he received a special mention for the Decay of a Dome installation a project whose light, mobile and utterly simple structure can be speedily constructed or returned to nothingness; the 2009 Architecture as a Resistance solo exhibition at the BOZAR Centre for Fine Arts in Brussels; the 2007 Shenzhen & Hong Kong Bi-City Biennale of Urbanism\Architecture; the 2003 Alors, La Chine? exhibit at the Centre Pompidou, Paris; the 2002 Shanghai Biennale at the Shanghai Art Museum; the 2001 TU MU -Young Architecture of China exhibit at AEDES Gallery, Berlin; and the 1999 Chinese Young Architects Experimental Works Exhibition, UIA Congress, Beijing. In 2011, Wang Shu received the Gold Medal of Architecture (grande mdaille dor) from the l'Acadmie d'Architecture of France. In 2010, Wang Shu and Lu Wenyu were awarded the Schelling Architecture Prize, which goes to individuals who have responsibly advanced architecture's development with significant designs, realized buildings or with profound contributions to architectural history and theory. The Vertical Courtyard Apartment, in Hangzhou was nominated for the 2008, German-based International Highrise Award. In 2005, the project Five Scattered Houses in Ningbo received an acknowledgement from the Asia Pacific Holcim

Awards for sustainable construction, and in 2003, the Wenzheng Library received the Architecture Art Award of China. Wang Shu/Amateur Architecture Studio is known for the following built works: Library of Wenzheng College, Suzhou University, China (2000); Ningbo Contemporary Art Museum, Ningbo, China, (2005); Five Scattered Houses, Ningbo, China (2005); Xiangshan Campus, China Academy of Art (Phase I) Hangzhou, China (2004); Xiangshan Campus, China Academy of Art (Phase II) Hangzhou, China (2007); Ceramic House, Jinhua, China (2006); Vertical Courtyard Apartments, Hangzhou, China (2007); Ningbo History Museum, Ningbo, China (2008); and, Exhibition Hall of the Imperial Street of Southern Song Dynasty, Hangzhou, China (2009).

Firm: Amateur architecture studio Famous Works:

Xiangshan Campus, China Academy of Art, Vertical Courtyard Phase II, 2004-2007, Hangzhou, China

Apartments, 2002-2007, Hangzhou, China

2013

Toyo Ito was born on June 1, 1941 in Keijo (Seoul), Korea (Japanese). His father was a business man with a special interest in the early ceramic ware of the Yi Dynasty of Korea and Japanese style paintings. He also was a sports fan of baseball and golf. In 1943, Ito, his mother, and his two elder sisters moved back to Japan. Two years later, his father returned to Japan as well, and they all lived in his fathers hometown of Shimosuwa-machi in Nagano Prefecture. His father died in 1953, when he was 12. After that the rest of family operated a miso (bean paste) making factory. At present, all but one sister who is three years older than Ito, have died. Ito established his own architecture office in 1971, and the following year he married. His wife died in 2010. They had one daughter who is now 40 and is editing Vogue Nippon. In his youth, Ito admits to not having a great interest in architecture. There were several early influences however. His grandfather was a lumber dealer, and his father liked to draw plans for his friends houses. When Ito was a freshman in high school, his mother asked the early

Modernist architect, Yoshinobu Ashihara, who had just returned to Japan from the U.S. where he worked at Marcel Breuers office, to design their home in Tokyo. He was in the third grade of junior high school when he moved to Tokyo and went to Hibiya High School. At the time, he never dreamed he would become an architecthis passion was baseball. It was while attending the University of Tokyo that architecture became his main interest. For his undergraduate diploma design, he submitted a proposal for the reconstruction of Ueno Park, which won the top prize of the University of Tokyo. Toyo Ito began working in the firm of Kiyonori Kikutake & Associates after he graduated from Tokyo Universitys Department of Architecture in 1965. By 1971, he was ready to start his own studio in Tokyo, and named it Urban Robot (Urbot). In 1979, he changed the name to Toyo Ito & Associates, Architects. He has received numerous international awards, including in 2010, the 22nd Praemium Imperiale in Honor of Prince Takamatsu; in 2006, The Royal Institute of British Architects Royal Gold Medal; and in 2002, the Golden Lion for Lifetime Achievement for the 8th Venice Biennale International Exhibition. All of his honors are listed in the fact summary of this media kit. He has been a guest professor at the University of Tokyo, Columbia University, the University of California, Los Angeles, Kyoto University, Tama Art University, and in the spring semester of 2012, he hosted an overseas studio for Harvards Graduate School of Design, the first in Asia. His works have been the subject of museum exhibitions in England, Denmark, the United States, France, Italy, Chile, Taiwan, Belgium, and numerous cities in Japan. Publications by and about him have appeared in all of those countries and more. He holds Honorary Fellowships in the American Institute of Architects, Royal Institute of British Architects, the Architecture Institute of Japan, the Tokyo Society of Architects and Building Engineers, and the American Academy of Arts and Sciences. One of his first projects in 1971 was a home in a suburb of Tokyo. Called Aluminum House, the structure consisted of wooden frame completely covered in aluminum. Most of his early works were residences. In 1976, he produced a home for his sister, who had recently lost her husband. The house was called White U and generated a great deal of interest in Itos works. It was demolished in 1997. Of most of his work in the 1980s, Ito explains that he was seeking to erase conventional meaning from his works through minimalist tactics, developing lightness in architecture that resembles air and wind. Famous Work:

Tower of Winds, Yokohama-shi, Kanagawa, Japan, 1986

Main Stadium for The World Games 2009, Kaohsiung, Taiwan, 2009